If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Whenever a guitarist or other instrumentalist releases an album, they always run the risk of being egocentric. The album can often turn into a showcase for their instrumental abilities instead of the songs. Chilean guitarist, Carlos Saunier's debut album Inminente shows what happens when an artist bucks that trend. He offers up six solid original songs, defined by their strong melodies. Saunier's guitar style is reminiscent of Bright Size Life (ECM Records, 1976) era Pat Metheny, with a great balanced mid-range tone.
Saunier throughout the album gives each of his instrumentalist's room to solo, never hogging the album for himself. "Tocino" is a highlight. Starting out with an intro played by Saunier and tenor saxophonist Claudio Rubio, "Tocino" moves into a fast-paced solo by Saunier followed by Rubio's own rapid fire horn lines. Both soloists use space and dynamics well. The song is held together by the duo of bassist Francisco Barahona and drummer Felix Lecaros, who maintain a solid pocket throughout. Four minutes in the song features a radical shift. "Barahona" switches from a fast fusion groove to a slower walking bass line, while Rubio and Saunier restate the melody. Lecaros' drumming is incredible here, featuring great rapid fills to keep the energy high. The bluesy bop-influenced song "Espiritu de la Escelcelera" is another highlight, starting off with a bass intro before Saunier and guest saxophonist Maxi Alarcón play the melody in tandem. After the head, Saunier displays excellent accompaniment skills, playing tasteful melodic phrases and shimmering chords to counter Rubio's lead saxophone voice. Overall this is a solid debut, with good songwriting and solid solos. Hopefully this is a sign of things to come for this young artist.
Track Listing: Inminente; 28; El Espiritu de la Escalera; Franky; 5-Z; Tocino.
Personnel: Claudio Rubio: Tenor Sax; Maxi Alarcon: Tenor Sax (themes 1 and 3); Francisco Barahona: Bass; Felix Lecaros: Drums; Carlos Saunier: Guitar and Composition.
| Year Released: 2017
| Record Label: Discografica del Sur
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock
I love jazz because when I was a kid pop music was bland, plain, uneventful until one day I heard a tune on a juke box entitled Jump Red Jump By Tenor Saxophonist Red Prysock brother of Arthur Prysock. It was love at first sight . This was when Blues, Soul / Gospel Style Music was becoming popular amongst kids as well as hip adults and featured Ray Charles, Big Joe Turner and The Payola era DJ's such as Alan Freed. Not many people remember that Freed's Rock n Roll Band of the 1950's was The Count Basie Orchestra featuring the Guy Singer Tony Bennett (Anthony DiBenedetto) who grew up in Astoria, NYNY right next to my Home Town Jackson Heights NYNY.
I was first exposed to jazz when I heard Red Prysock, Sam The Man Taylor & groups like the Chord Cats recording of Shaboom! It made the Crew Cuts look LAME! Now Jazz, Blues, Soul, Gospel was pretty much joined at the hip back then and I learned that the tasteful Music was featured on The African American Radio Stations which led me to DJ's Like The Bruce, Jocko Henderson, Tommy Dr. Jive Smalls and eventually Symphony Sid Torin, China Valles and Len Pace. This all took place during my high school years and the following years in NYNY and South Florida. I actually flew to Copenhagen Denmark in 1961 to see Stan Getz, (One of my top 3 heroes in the Music Bird, Pres & Getz not necessarily in that order). Sadly Getz had already left town and snuck back into NYNY where he played Birdland (Undoubtedly without a cabaret card due to smack addiction.) No problem for me as I worked for Pan American Airways at the time and enjoyed a 90% Employee Discount.
I met Thelonious Monk, Stan Kenton, Warne Marsh, Lenny Tristano, Art Farmer, Benny Golson, Frank Foster, Dr. Lonnie Smith, among many others over the years.
The best show I ever attended was The Randall's Island Jazz Festival NYNY 1960. Monk & Edward Ellington Kennedy AKA Duke, starred among numerous others. I can not recall the entire Line Up but Monk brought along his Hat Collection which at the time contained I believe he told me 33 or 35 international Hats which he periodically changed often during his Solos. I have been unable to find that roster for that particular festival and since it was long ago I remember mostly Monk & Duke. Paul Gonsalvas played his legendary trademark twenty something chorus solo in between Diminuendo and Crescendo in Blue which was outstanding.
The first jazz record I bought was Firstly, my Bro George was / is a Marine and he sent home his wax collection of LP's from Camp Pendleton CA before deploying to Okinawa in 1956 I think. Bird, Getz, Mulligan & Baker, Erroll Garner, Blakey's Jazz Messengers, Jazz at Newport 1956 and many more. I fell in love with Bird, Getz and Jeru & Chet for openers. Pres to my mind takes the all time Tenor Award and Budo, Piano etc.! However I digress Getz Long Island Sound and every other Getz record that I could find that was 1957 by then and I snuck in to Birdland for the First of many times before I was 18 ( Legal drinking age back then) It wasn't until just after my 18th Birthday that I was carded much to the bouncers chagrin as he recognized me as having being an established customer by then.
My advice to new listeners: Listen to the Music and keep it in the forefront not the background. A Local Band Leader whose name escapes me once said to me Jerry you can make time for the chicks later the Music is in the now and is more important than chicks ever will be. He was correct!
Next see live performances and introduce yourself to the Players most of whom will be respectful. Some, however, are unapproachable such as when I saw Miles so many times but his obvious disdain for certain fans was evident and he always walked off the stage after soloing. (Eddie Jefferson sang words to So What that so indicated this)!