The label Fresh Sound New Talent is aptly named in regard to the young alto saxophonist it introduces on this recording. Logan Richardson has a fresh sound, accommodating enough to please the adventurous but not so out it canâ????t be enjoyed by general jazz listeners who want to explore new territory. Despite its brainy title, Cerebral Flow is about more than conceptual ideas or even technical virtuosity. Richardsonâ????s intriguing compositions and playing convey emotionor maybe itâ????s that they provoke feeling in the listener. No doubt the very human voicings of this Kansas City-born reed player have a lot to do with that.
Richardsonâ????s ten originals are supported by a band of New York City regulars and consummate listeners who are sensitive to their nuances. Rising young guitarist Mike Moreno performs elegant standout solos on several pieces including "In The Wall" and "Urban Folk Song," and was someone to be counted on throughout a live performance celebrating the CD release at Cornelia Street Café in late April, 2007.
The inventive and masterful Nasheet Waits and the versatile Thomas Crane time-share the drumming chair on the recording; Both have distinctive personalities and playing methods but their efforts seamlessly knit from track to track. Crane pulls out all the stops on "Free The Blues" and the title track while Waits, with his swirling and rolling tension-producing rhythms, owns the first and last numbers "Turning Maze" and "In The Wall," as well as the arousing drum and saxophone duo "Like Water."
At Cornelia Street Café, the first three tunes from the CD began the set but, as befits a live jazz show, there were surprises. Crane ably handled all the drumming with an endless supply of ferociously focused energy. Richardson had many strong solos, including a total blowout on "Our Life Together." And two new numbers, the ballad "Faith" and "You Donâ????t Know My Name," the latter finished just days previously and featuring cellist Patrick Petty, were unveiled. The exploratory Richardson continues to seek new ways to express what he hears in his head and these subtly stroked strings added another color to the bandâ????s overall sound without overwhelming the interplay of the core group.
Track Listing: Turning Maze; Cerebral Flow; Urban Folk Song; Animated Concept of Being; Pacing Idiosyncrasies; Like Water; Release; Our Life Together; Free the Blues; In the Wall.
Personnel: Logan Richardson: alto and soprano saxophone; Mike Pinto: vibes; Mike Moreno: guitar; Matthew Brewer: bass; Nasheet Waits: drums (tracks 1, 4-6,10); Thomas Crane: drums (2,3,7-9).
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already
I was first exposed to jazz circa 1973, when I met a fellow who ran Kappy's Record Store over near 10th Ave., on 42nd St. in NYC. We really clicked and when I told him I played piano and went to Music & Art HS, and had just started at City College of NY as a music major, he asked if I liked jazz...I said yes but I didn't know much about it, but that I did have sheet music for many popular 1920's through 1940's tunes by noted composers (Porter; Gershwins; Irving Berlin; Rodgers & Hammerstein/Hart; Jerome Kern; Lerner & Loewe; etc.) that my mother had sung beautifully starting in the 1940's including tons of famous show tunes, and I played many of those songs already. SOOOO... he started me off LP's by Oscar Peterson, Art Tatum, Bud Powell, Errol Garner, Bill Evans, Monty Alexander, Charlie Byrd, and Dave Brubeck... does it get any better than that? ...No, it doesn't. I was hooked!!
I met and had a master class with the late music giant John Lewis, leader of the Modern Jazz Quartet! This was at CCNY in 1977. I was blessed! It was an incredible class... how could it have been anything else?!?!
The first jazz record I bought was...I bought numerous records from my friend at the record store, as mentioned above. He introduced me to nothing but music giants/legends! I think The Dave Brubeck Quartet, Greatest Hits, was actually the first one.
My advice to new listeners... study first--understand the rudiments--solfeggio, keys, scales, and basic chords. Read a book or take a class that includes the study of chord progressions, especially in jazz. It should ideally be a piano class so you can play multiple notes together. Have a good EAR or else it's not really worth it in my view...to become a musician, a good EAR for music is about as fundamental as breathing! Learn to read chord charts--i.e., lead sheets - wherein you play various voicings of the chords--major, minor, dominant 7th (alterations of these, you can learn over time - the basic chords are most important for starters), plus the melody, on the piano or keyboard. If you have to read the exact notes, then it's not the same as actually internalizing it & getting it all into your head. If you can do this, I think you're ready not only for listening to jazz, but understanding many concepts of it! Of course...anyone can listen to jazz... but I think it's so good to also have a grasp of it.