The sound that comes from the speakers is immediately arresting. It is a groan, or a whine, or maybe a croon. It shifts and slides from position to position, defying your efforts to pin it down. Now deep and sonorous, now thin and electric as feedback, Terry Plumeri's bowed bass work is endlessly compelling. Pair it with musicians the caliber of David Goldenblatt (piano) and the great Joe La Barbera (drums) on a choice selection of standards and the effect is stunning.
Blue In Green is a flash point of classical and jazz sensibilities. The performances have the intricate formality of chamber pieces, along with the casual urge of jazz to follow inspiration wherever it may wander. Due to this risk-taking, not every track is completely successful. But in a time when the comfort of mediocrity is so tempting, daring missteps should be celebrated as much as easy achievements. For instance, the melancholy enchantment of "Corcovado does not entirely survive this severe, nearly Gothic interpretation. And yet this misfire does nearly as much to reveal the ineffable beauty of the song as a hundred standard issue bossa nova Muzak arrangements.
On the other hand, the take of "'Round Midnight is one of the strongest pieces I've heard all year. Plumeri sounds downright odd here, exactly as off-kilter and slurred as things seem 'round midnight. There's a novel here, filled with events unsettling and hazy.
Blue In Green is an album that reviewers pray for because it fires the imagination. The listener has the uncanny experience of hearing players thinking on their feet, instead of recycling riffs they've fallen back on for years. It is challenging and astonishingly vital.
Track Listing: Beautiful Love; Blue In Green; Autumn Leaves; Gentle Rain; Dolphin Dance; Corcovado; Footprints; 'Round Midnight
Personnel: Terry Plumeri: bass; David Goldblatt: piano; Joe La Barbera: drums.
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.