Her session of originals contains a lovely Brazilian tinge. From the modern mainstream, pianist Kerry Politzer exposes her trio to lively samba rhythms and saucier twists that tug this way and that. Percussive in nature, her keyboard mastery echoes the natural spirit that accompanies street festivals and other celebrations of life. To that formula, Politzer adds pieces, such as "Aardvark," that fuse jazz's modern mainstream with international concepts. A strong classical music education and her jazz concentration at the New England Conservatory have left imprints. The title track soothes as a gentle waltz, featuring Politzer's wordless vocals in unison with Eric Rasmussen's soprano saxophone. Suite-like, the piece moves through distinct phases and includes solos from piano, saxophone, and bass. Pete Smith's acoustic guitar lends a folkloric touch to three numbers. His duet with Politzer on "Revelation" offers a landscape free from rush hour traffic and suitable for your next vacation. This is Politzer's debut CD. Audio samples are available at her web page .
Track Listing: Twist of Samba; Tug of War; A Wish; Revelation; Yearning; Begin the Bai
Personnel: Kerry Politzer- piano, add wordless vocal on "Yearning;" Howard Britz- acoustic bass; Andrea Valentini- drums; Eric Rasmussen- alto saxophone, soprano saxophone; Pete Smith- acoustic guitar.
| Year Released: 2001
| Record Label: CAP
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.