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The combination of poetry and music is not new. Spain and Latin America have a great tradition of poetry musicalization. As part of the Nueva Trova style of the 1970s, singers like Silvio Rodriguez, Mercedes Sosa, Atahaulpa Yupanqui and Roy Brown set the poetry of some of Latin America's best writers to music.
Being that jazz is mostly an instrumental form, its fusion with poetry is not that common, which is one of the aspects that makes Nicholas Urie's My Garden so unique. Still in his mid-twenties, Urie is already a recognized composer/conductor, and has led large jazz ensembles as well as symphony orchestras.
After his critically acclaimed debut, Excerpts from an Online Dating Service (Red Piano Records (2009), Urie comes back with the equally creative My Garden, focusing on the poems of Charles Bukowski, born in Germany in 1920 but already living in the United States by1923. This poet/novelist's writing style has been described as minimalist and his poetry as sober, direct, realistic and sometimes crude. So the challenge here was to take that approach and translate it into music.
Urieconducting a big band of great musiciansrises to the challenge, delivering arrangements with a good balance of simplicity and sophistication that perfectly reflects the mood and meaning of Bukowski's poems. The arrangements vary, from the classical feel of "My Garden" and march-like "For Crying Out Loud," to the swing tempo on "Round and Round," funky groove of "Lioness," and cinematic mood on "Slaughterhouse." With a tone reminiscent of Cassandra Wilson, Christine Correa is ideal for Bukowski' poetry, her empathy translating what Bukowski was feeling when he wrote lines like, "pain is a flower; pain is flowers blooming all the time" adds emotional depth to Urie's music.
Track Listing: Winter: My 44th Year; Round and Round; My Garden; For Crying Out Loud; Lioness; Slaughterhouse; Lean; Finality.
Personnel: Christine Correa: voice; Jeremy Udden: soprano saxophone; Douglas Yates: alto saxophone, clarinet; Kenny Pexton: tenor saxophone; Brian Landrus: bass clarinet; Albert Leusink: trumpet; Ben Holmes: trumpet; John Carlson: trumpet; Alan Ferber: trombone; Max Siegel: trombone; Frank Carlberg: piano, rhodes; John Hébert: bass; Michael Sarin: drums; Nicholas Urie: conductor.
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 ...