Home » Jazz Articles » Rediscovery » Vince Mendoza: Start Here

26

Vince Mendoza: Start Here

By

Sign in to view read count
Vince Mendoza—Start HereVince Mendoza
Start Here
World Pacific
1990

In the fall of 1990, I was visiting Amsterdam for four days between business engagements in other European countries and, as usual, the first order of the day was to scope out a good music store. Luckily, there was one within walking distance of the hotel, and amongst the goodies I bought that day was Vince Mendoza's second recording as a leader, first to be released outside of Japan ... and today's Rediscovery: Start Here.

I'd already begun to encounter Mendoza's name as a composer of no small promise on albums by Peter Erskine, John Abercrombie, Gary Burton and Michael Brecker—pretty damn good credentials for a composer/arranger who was relatively fresh out of school and some experience in Los Angeles as a scorer for film and television—and so his name already bore significant weight. Start Here's lineup largely alternated between two star-studded groups: one, with John Scofield, Bob Mintzer, Jim Beard and Erskine; the other, featuring guitarist Ralph Towner, pianist Marc Cohen (soon to change his name to Marc Copland), bassist Gary Peacock and, again, Erskine. As intrigued as I was by a full album of Mendoza's music, his choice of musicians is what turned the record from curiosity to "must have."

With both ensembles, Mendoza often added a variety of instruments ranging from reeds (in addition to Mintzer, Joe Lovano and Lawrence Feldman), horns and string to synths (often played/programmed by Mendoza) and EVI (Electronic Valve Instrument, played here by Judd Miller). The ensembles were also broken down, at times, into smaller subsets as on "Save the World," where Mendoza's synth-programmed arpeggios creates a foundation over which Lovano, Towner and Erskine can layer their collective improvisational forays.

The result? An album of remarkable diversity that still speaks with Mendoza's singular voice, from the knottily buoyant and harmonically ambiguous opener, "Babe of the Day," and "Elder Wings"—which begins with Mendoza's darker- hued synths and Feldman and Peacock solos that ultimately turn more joyous for Towner's nylon-string guitar solo—to the elegiac French horn, bass trombone and tuba driven "Angelicus," still, nearly a quarter century later, one of Mendoza's most beautiful compositions.

There's plenty of solo space, but always within the context of Mendoza's information-rich writing. These are not quick heads that open up into soloing; instead, they are detailed compositions where improvisational elements are just another integrated component of Mendoza's overall approach.

Mendoza would subsequently go on to become an composer and/or arranger of choice for everyone from bassist Jimmy Haslip—a full half of whose Arc (GRP, 1993) seemed like a continuation of Start Here and its equally impressive 1991 follow-up, Instructions Inside (EMI-Manhattan), and featured one of the composer's best pieces of writing (and best Scofield solos) ever, "Orange Guitars"—Joe Zawinul and Charlie Haden to Joni Mitchell, Mary Chapin Carpenter and Björk.

But it all began with Start Here, a most impressive leader debut and one well worth revisiting and, with its multitude of musical layers, rediscovering.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it?


[Note: You can read the genesis of this Rediscovery column here .]

Comments

Tags


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
View events near New York City
Jazz Near New York City
Events Guide | Venue Guide | Local Businesses | More...

More

Jazz article: Herbie Hancock: Thrust
Jazz article: Miles Davis: Bitches Brew

Popular

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.