336

Oscar Feldman: Oscar e Familia

Raul d'Gama Rose By

Sign in to view read count
Oscar Feldman: Oscar e Familia Oscar Feldman is ready, with Oscar e Familia, to put his own stamp on the alto saxophone. Not since the fire of Jackie McLean, the cool breeze of Lee Konitz, Eric Dolphy's rhythmic advances, Ornette Coleman's Harmolodic theories, and Steve Coleman's mBase concepts, has someone attempted to create a new language for that instrument. True, Charlie Parker presided over the advent of the most enduring revolution in music: bebop. Now, however, Feldman has, as an alto saxophonist, made a dramatic advance in the language and is enabling a new literature that will, in time, stand parallel with mBase and Harmolodic music. So, what has Feldman really done?

Firstly, he is steeped in the Afro-Caribbean tradition that is buzzing all over South America as it collides with the jazz idiom. Secondly, his grasp of classic and modern European music and dance traditions is complete. Finally, he is well-versed in the history of jazz and without being pedantic. He can swing and samba, meld Afro-Caribbean clave with 3/2 Cuban clave, gracefully sliding from one to the other, building a whole new library of music in the bargain. Then, there is the small matter of his voice: Feldman is a master of the intricacies of tone and color, and an array of inventive rhythmic patterns. He is also a fine writer. He writes for sound: as with tenor saxophonist Mark Turner dry, harmonically erudite runs on "So Tenderlee," a celebration of the towering contributions of Lee Konitz.

Feldman switches to a suave modal counterpoint as he preps Xavier Perez to play tenor across his own breathless alto in Hermeto Pascoal masterpiece, "Oscar e Familia," specially composed for this record. Feldman's broad, elegant vibrato recalls Sidney Bechet in the soprano introduction to the piece playing opposite bassist, Pablo Aslan, who makes his entry with con arco and sagacity.

Throughout the record, Oscar Feldman can be heard probing the wall of sound he aims to build with muscular authority, steeped in the adrenaline that floods his various emotions. He matches the elemental longing in "New Tango," playing ahead with great feeling, and like a whirlwind bow across the Cuartetango String Quartet, so masterfully arranged by Carlos Franzetti on "Coco da Bahia" and "New Tango." Feldman's "Coco da Bahia" is a beautiful samba written for his father, while "New Tango" is an exquisitely crafted standard that does the tango tradition proud.

Feldman is wildly intrepid in interpretation on Astor Piazzolla "Triunfal," while playing labyrinthine lines around percussionist Saturnino's cajon on Guillermo Klein "El Minotauro," in the style of a Peruvian lando. Feldman plays Wayne Shorter's "Children of the Night," with singularly individual authority, in another challenging rhythmic extravaganza. "Peace to Find" heralds a return to calmness, working in funky counterpoint to the beginning of the record.

It has been a decade since Feldman's first record. The result is a proverbially important document by a musician of considerable repute.


Track Listing: Mrs. Tangoholic; The Improvisers; So Tenderlee; Oscar e Familia; Coco da Bahia; New Tango; Triunfal; El Minotauro; Children of the Night; Peace to Find.

Personnel: Oscar Feldman: alto saxophone, soprano saxophone (4); Manuel Valera: piano, Fender Rhodes (1, 2, 4); Didi Gutman: keyboard and sampled sounds (1); John Benitez: electric bass (1, 2, 4), acoustic bass (3, 5, 6, 9); Pablo Aslan: acoustic bass (4, 7, 8, 10); Antonio Sanchez: drums; Pernell Saturnino: percussion; Diego Urcola: trumpet (1), trombone (2); Mark Turner: tenor saxophone (3); Xavier Perez: tenor saxophone, baritone saxophone (4); Tito Castro: bandoneon (7); Carlos Franzetti: Cuartetango String Quartet arrangements (4, 5); Leonardo Suarez Paz: violin (4, 5); Nicholas Danielson: violin (4, 5); Ron Lawrence: viola (4, 5); Daniel Miller: cello (4, 5); Luis Alberto Spinetta: voice (10).

Year Released: 2009 | Record Label: Sunnyside Records | Style: Modern Jazz


Shop

More Articles

Read Transparent Water CD/LP/Track Review Transparent Water
by Dan Bilawsky
Published: February 20, 2017
Read Billows Of Blue CD/LP/Track Review Billows Of Blue
by Dan McClenaghan
Published: February 20, 2017
Read Love Dance CD/LP/Track Review Love Dance
by Karl Ackermann
Published: February 20, 2017
Read Honest Woman CD/LP/Track Review Honest Woman
by James Nadal
Published: February 20, 2017
Read June CD/LP/Track Review June
by Karl Ackermann
Published: February 19, 2017
Read The Final Concert CD/LP/Track Review The Final Concert
by John Sharpe
Published: February 19, 2017
Read "Loafer's Hollow" CD/LP/Track Review Loafer's Hollow
by Karl Ackermann
Published: February 10, 2017
Read "Nomade Orquestra" CD/LP/Track Review Nomade Orquestra
by Chris M. Slawecki
Published: August 5, 2016
Read "No Coming, No Going – The Music of Peter Kuhn 1978-1979" CD/LP/Track Review No Coming, No Going – The Music of Peter Kuhn 1978-1979
by John Sharpe
Published: August 5, 2016
Read "Live In Brooklyn" CD/LP/Track Review Live In Brooklyn
by Roger Farbey
Published: January 23, 2017
Read "Sunshine Seas" CD/LP/Track Review Sunshine Seas
by Mark Corroto
Published: April 22, 2016
Read "My Scandinavian Blues: A Tribute to Horace Parlan" CD/LP/Track Review My Scandinavian Blues: A Tribute to Horace Parlan
by Jakob Baekgaard
Published: June 12, 2016

Post a comment

comments powered by Disqus

Sponsor: ECM Records | BUY NOW  

Support our sponsor

Support All About Jazz's Future

We need your help and we have a deal. Contribute $20 and we'll hide the six Google ads that appear on every page for a full year!

Buy it!