Gerald Beckett leads this quintet and sextet session which features his flute in a program of inspired jazz tunes. Each selection swings with a balance of hard bop and blues.
FluteVibes features the leader with vibraphonist Erik von Buchau in a quiet affair that settles down gracefully. Walking bass, block chords, and ride cymbal propel the front line as both flute and vibraphone stretch out with a free hand. I Remember Bill features Beckett's bass flute and C flute along with Damien Masterson's harmonica in a tender ballad performance that comes from deep within. Both artists shine with a satisfying tone.
Blue Gene features Beckett's alto flute and C flute along with Masterson in a slow blues that oozes with passion. Here, both artists give us a full helping. Bassist Aaron Germain adds a unique solo spot that drives the message home. For "Coral Keys, Beckett employs his whole arsenal of flutes: C flute, alto flute, bass flute, and piccolo. The lively Latin piece lets each instrumental voice color with serene feelings while congas and a stellar rhythm section provide spirit.
Beckett's recommended second Summit album soars with magic vibrations that pique the senses.
Track Listing: The Soothsayer; Fami-Lee; Bimbe Blue; Broken Wing; Pamela
Personnel: Gerald Beckett: flutes; Graham Bruce: flugelhorn; Steve Heckman: tenor saxophone; Max Perkoff: trombone; Damien Masterson: harmonica; Khalil Doak-Anthony: electric guitar; Dave Bell: acoustic guitar; Erik von Buchau: vibraphone; David Ufolf: piano; Aaron Germain: bass; Niels Myrner: drums; Antonio Davidson-Gomez: percussion.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.