Combining some of the area’s brightest jazz stars in a collection which stretches and ocassionally leans outside the realms of jazz (often to great result), Boston World Jazz Project features drummer Dan Vigden and a rotating roll of his musical friends. Opening with the brass-splashed title track, the album soon finds Vigden smacking away on Dizzy Gillespie’s "Woody and You." Kicking in with a booming piano intro, Johnny Mercer’s "Autumn Leaves" falls into instant recognition as soon as Wayne Escoffery’s sax hits the groove.
Wayne Shorter’s "Fe-Fi_Fo-Fum" is a down tempo club piece which is not as giant a step as its name might imply, but BWJP’s take on Cole Porter’s "What Is This Thing Called Love" is a red hot and Latin burner with fiery sax flights and hot-handed piano courtesy of Alon Yavnai. Swinging through Billy Strayhorn’s "Upper Manhattan Medical Group," the band rises into a not-so-soft "Softly, As In A Morning Sunrise," peppered by Vigden’s cymbal-heavy percussive thunder. After a flipper-y take on "On Green Dolphin Street," the Project finds its project with the Vigden-penned groover "T. Funk," featuring Scott Aruda’s ever-sharp trumpet and Bruce Bears’s rhtyhm-hittin’ B-3.
Despite the apparent avaialbility of horn-y men like Aruda, a fully-swung swing through the Davis/Evans collaboration "Nardis" features saxophones in place of Miles’s golden horn. Whenthe funk bug returns for "The Funky Bee," down n’ dirty sax man Gordon Beadle joins Vigden as the driving force drummer shows his tru colors again. Flipping completely to the B-side, the album closes with the Muzak-y "If I Keep My Heart Out Of Sight." Though it may be a bit of a downturn after the Maceo-era drive of "Bee," Kerry Connor’s guitar washes and Bob Finnie’s vocalese keys make this James Taylor cover a pleasant smooth jazz closer.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.