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Interpreting established pieces from the familiar repertoire along with creative originals, Bobo Stenson and his trio deliver a lyrical performance that emphasizes relaxed clarity. The pianist's deliberate manner looks deep within itself for inspiration. He intones meaningfully and allows each phrase to simmer to its fullest extent. Along with two like-minded musical partners, bassist Anders Jormin and drummer Paul Motian, he explores sonic fullness with slow and deliberate care. The trio discovers each inhibited theme only after exhaustive soul-searching and through creative interplay. Stenson's luxurious piano phrases melt when exposed.
Jormin's "Seli" drifts casually, as if the music were floating on water and gently buoyed by the wind. Stenson's natural inclination for expressing what we feel works wonders on the soul. Henry Purcell's "Music for a While" folds its classical theme with a modern jazz walk. Ornette Coleman's "Race Face" appears upbeat as the trio drives it with a free spirit. The piece gives them occasion to jump into a rhythmic groove that closes the album with a positive glow.
In keeping with its title, Jormin's "Allegretto Rubato" runs helter-skelter without moving down the street in a linear fashion. The trio takes this one in little circles that ebb and flow with a free spirit. Stenson's Queer Street" relates an eerie feeling, while Motian's "Sudan" provides an exotic impression. Gordon Jenkins' "Goodbye" finds the trio enveloped in a slow ballad rendering that oozes reflective charms.
Most of the session moves slowly with deliberate expression. Bobo Stenson's focus remains tied to introspective interpretation and sharing with his audience a love for lyric beauty.
Track Listing: Send in the Clowns; Rowan; Alfonsina; There Comes a Time; Song About Earth; Seli; Goodbye; Music for a While; Allegretto Rubato; Jack of Clubs; Sudan; Queer Street; Triple Play; Race Face.
Personnel: Bobo Stenson: piano; Anders Jormin: double-bass; Paul Motian: drums.
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...