Dear All About Jazz Readers,

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...

355

Marty Ehrlich: The Long View

By

Sign in to view read count
Jazz needs composers like Marty Ehrlich. Like his mentor Julius Hemphill, Ehrlich, while proficient in the more conventional small group settings, envisions something greater, hearing music of multiple textures, moods, origins and voicings. Divided into six movements and a postlude, The Long View was originally conceived as aural accompaniment to an exhibition of paintings by Oliver Jackson (another Hemphill cohort). That this work stands on its own is implicit.

The first movement commences with a bracing sax statement by Ehrlich, followed by the stirring entry of twelve more musicians on a range of reeds, brass and rhythm. Trumpeter Eddie Allen takes a turn out front, before being joined by Ehrlich in an exchange of growls and squeals. The horns swell and recede, sometimes in big band style swing, at other times in furious group improvisation. Occasionally an instrument will come to the fore, like Mark Dresser’s bass solo that signals the segue into “Movement II.” In contrast to the rousing horns of the first part, this movement features the rolling mallets of Bobby Previte, the mournful strings of Mark Feldman on violin, Ralph Farris on viola, amd Erik Friedlander on cello—and Ehrlich’s pretty soprano.

The depth of “Movement III” is measured by Ned Rothenberg’s bass clarinet, J.D. Parran’s contrabass clarinet and Andy Laster’s baritone, which enable a conversation between trumpets and provide poignant contrast to Ehrlich’s flute song. “Movement IV” starts with Wayne Horvitz playing delicately on piano in a quartet setting before Ehrlich tears it up on alto. Later in the same piece, Ehrlich and Dresser duet on flute and bass. Ray Anderson’s trombone establishes the slow drag groove of the beginning and end of “Movement V,” with Ehrlich responding with bluesy tenor, and for “Movement VI,” the full ensemble mimics the scope and variety of “Movement I,” this time dominated by Ehrlich’s honking alto soloing, bubbling accompaniment by Marcus Rojas on tuba and Pheeroan akLaff’s emphatic beats.

Movement within movements, gripping orchestrations, and overwhelming collective work define Ehrlich’s accomplishment. If you’re looking for something more than usual small group jazz, Ehrlich’s music for large band is both challenging and rewarding.

Visit Justin Time on the web.


Track Listing: 1. The Long View: Movement I (12:07); 2. The Long View: Movement II (12:12); 3. The Long View: Movement III (8: 49); 4. The Long View: Movement IV (8:52); 5. The Long View: Movement V (8:29); 6. The Long View: Movement VI (10:48); 7. The Long View: Postlude (2:25).

Personnel: Marty Ehrlich: Flute, Bass Clarinet, Tenor, Alto, and Soprano Saxophones; Mark Dresser: Bass; Mark Helias: Bass, Conductor; Andy Laster: Clarinet, Baritone Saxophone; Sam Furnace Flute, Alto Saxophone; Wayne Horvitz: Piano; Ray Anderson: Trombone; Clark Gayton: Trombone; Eddie Allen: Trumpet; James Zollar: Trumpet; Marcus Rojas: Tuba; Mark Feldman: Violin; Eddie Bobe: Bongos, Cowbell; Erik Friedlander: Cello; Robert DeBellis: Bass Clarinet, Soprano Saxophone, Tenor Saxophone, Clarinet; J.D. Parran: Contrabass Clarinet, Tenor Saxophone; Pheeroan akLaff: Drums; Bobby Previte: Drums, Bass Drums, Tambourine; Michael Sarin: Drums; John Clark: Horn; Ralph Farris: Viola; Ned Rothenberg: Bass Clarinet, Alto Saxophone.

Title: The Long View | Year Released: 2004 | Record Label: Unknown label

Tags

comments powered by Disqus

Blues for Peace

Blues for Peace

Marty Ehrlich
A Trumpet in the Morning

Album Reviews
Extended Analysis
Album Reviews
Live Reviews
Album Reviews
Profiles
Album Reviews
Read more articles
Trio Exaltation

Trio Exaltation

Clean Feed Records
2018

buy
Things Change

Things Change

Via Veneto Jazz
2015

buy
A Trumpet in the Morning

A Trumpet in the...

New World Records
2014

buy
A Trumpet in the Morning

A Trumpet in the...

New World Records
2013

buy
Marty Ehrlich: A Trumpet In The Morning

Marty Ehrlich: A...

New World Records
2013

buy
Frog Leg Logic

Frog Leg Logic

Clean Feed Records
2012

buy

Shop

Start your shopping here and you'll support All About Jazz in the process. Learn how.

Related Articles

Read Fred Hersch Trio '97 @ The Village Vanguard Album Reviews
Fred Hersch Trio '97 @ The Village Vanguard
By Mark Sullivan
January 16, 2019
Read SJZ Collective Reimagines Monk Album Reviews
SJZ Collective Reimagines Monk
By Doug Collette
January 16, 2019
Read Swingin' In Seattle, Live At The Penthouse 1966-1967 Album Reviews
Swingin' In Seattle, Live At The Penthouse 1966-1967
By Mike Jurkovic
January 16, 2019
Read Hydro 2 Album Reviews
Hydro 2
By Vitalijus Gailius
January 16, 2019
Read Heritage Album Reviews
Heritage
By Tyran Grillo
January 15, 2019
Read Do Not Be Afraid Album Reviews
Do Not Be Afraid
By Gareth Thompson
January 15, 2019
Read Fairgrounds Album Reviews
Fairgrounds
By Roger Farbey
January 15, 2019

Warning: Creating default object from empty value in /home/websites/allaboutjazz.com/www/html/content/chunks/overlay/aaj-sitemap.php on line 5