A century of jazz has brought us many different types of music, which we continue to house under one umbrella. Bassist Peter Barshay represents the central line; however, his album pushes the envelope in various directions. A part of the program is tongue-in-cheek and some of the material catches fire. When you offer smooth jazz, hip bop, and straight-ahead arrangements in the same session you’ve got the ear of many. Barshay’s title track features a sextet line-up. Other songs employ flutes and saxophones and trumpets. The ensembles range from a few to many. “Hotter” appears to be three acoustic bass tracks overdubbed, while “Don’t Ask” takes on the appearance of a big band, performing smooth, Latin dance band material. Personnel include keyboards, alto and tenor saxophones, flutes, trumpet, drums, Mike Stern’s guitar, and Barshay’s upright bass. “What Is This Thing Called Love?” employs a hip bop arrangement. “Radio Joe” has a familiar backdrop, similar to Bobby McFerrin’s “Don’t Worry, Be Happy.” It’s a smooth jazz message for the masses from trumpet, tenor sax, guitar, keyboard, drummer, and Barshay’s bottom line. “Stuff” contrasts vehemently with contemporary energy. A Hammond B-3 and sultry tenor saxophone work out of stuttering, random rhythms. Stern’s guitar blazes with a hot, leading-edge freshness and frequent, unexpected changes. Barshay also adds three adventurous solo bass pieces to the album. Recommended, this one’s not just for bass lovers. Peter Barshay covers it all.
Track Listing: Joshua; Pit of Fashion; Introductions; Ok, Bye Bye, Fine; Please Recall; Hotter; Radio Joe; Stuff; Don
Personnel: Peter Barshay- bass; Mike Stern- guitar; others.
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total)
First time I met Lee Konitz, my mentor who completely changed my life, in 1992. He was giving a masterclass at the Cologne Conservatory (Germany) where I was a freshmen (with playing experience around three years total). He saw an alto sax on my neck and said: Hey, how about you there, would you like to play something for us? I played a piece with the piano. OK, said Lee, how about you play something unaccompanied? Oh yeah! I was deep into transcribing Sonny Stitt and pretty much into playing as fast as possible as many right notes as possible. So I played Oleo in about 300 beats per minute and was very proud of myself. Lee was tapping his foot all the way through. Hmm, he said, that was in time and all that... (I thought - yeah, of course, haha!) and then he said, You've got a lot of quantity, how about quality? It took me 15 years to realize what he meant.