Time: 50:40
File: MP3 @ 320K/s
Released: 2005
Styles: Jazz Instrument
Art: Front
01. The Lady's In Love With You (3:30)
02. Everytime (3:45)
03. I Wish I Knew (5:46)
04. When Day Is Done (5:57)
05. Garden In The Rain (4:40)
06. How My Heart Sings (4:37)
07. Everything I've Got (4:40)
08. Young And Foolish (5:58)
09. Bud Powell (4:32)
10. Bess You Is My Woman Now (2:51)
11. At Long Last Love (4:20)
Personnel: Mark Crooks (ldr/ten/clt), John Pearce (piano), Matt Miles (bass), Steve Brown (drums)
The clarinet is an often unfairly maligned instrument in the jazz world. Frank Wess, the eminent octogenarian saxophonist, was reputed to have said, 'the clarinet was invented by two guys who didn't know each other'. Another standout saxophonist, George Coleman, was one of many to have uttered the quip 'the only time Woody Allen made me laugh was when he picked up the clarinet'. These glib and offhand remarks aside, there is a difficulty with the clarinet in many modern jazz groups and big bands for sheer projection and volume reasons alone. It often has to resort to its sometimes shrill high register to be heard above these ensembles and, as a result, is compromised musically.
Practitioners of the instrument will no doubt be aware of the limpid and loamy qualities of the clarinet's chalumeau register, which is probably its least known and featured attribute. However, this was an area of the instrument that Ellington highlighted frequently with 1930s Crescent City stylists like Barney Bigard and Otto Hardwicke, as well as the more modem Jimmy Hamilton.
Tenorist and clarinettist Mark Crooks brings many of the clarinet's sides to light in this CD on the Mac label, How My Heart Sings ,with great effect. This is accomplished through no mean contribution by the crack rhythm support team present, led by pianist John 'the pro' Pearce, a consummate accompanist whose elegant melodocisms in his solos do much to spice up the proceedings. Bassist Matt 'Melody' Miles's timekeeping is matched by his unrelenting lyricism in his improvisations and drummer to the stars, Steve 'Beat' Brown's steady time is enhanced by his ebullient verve both as a person and percussive conversationalist. The added bonus on this date is the rich-toned guitar of Colin 'Ice' Oxley, whose solos burn coolly, laced with steadfast poise. One of the highlights included is Gershwin's Bess You Is My Woman Now from his seminal 1934 opera. Played poignantly by just clarinet and piano the melancholic yearning passion of the piece is captured to its tearful best. As the late saxophonist, Spike Robinson said to young lion Mark a few years back, 'if the tune's good enough, why spoil it, just play the tune'. The listener bathes in the pathos of the clarinet lament yet is heartened by the hopeful grace of John Pearce's rhapsodic, yet supportive piano.
Mark's Zootish tenor picks the mood up a bit with its swing and swagger on his original Everytime along with the Hague/Horwitz evergreen Young and Foolish. Other clarinet offerings include the title track composed by pianist Bill Evans's friend Earl Zindars, and the London-based American bandleader Carroll Gibbons's opus Garden in the Rain.
This disc features something for everyone; as well as a virtual history of the styles and colours beholden to the clarinet there is some fruity tenor sax to add muscle and bounce. ~Frank Griffith.
The clarinet is an often unfairly maligned instrument in the jazz world. Frank Wess, the eminent octogenarian saxophonist, was reputed to have said, 'the clarinet was invented by two guys who didn't know each other'. Another standout saxophonist, George Coleman, was one of many to have uttered the quip 'the only time Woody Allen made me laugh was when he picked up the clarinet'. These glib and offhand remarks aside, there is a difficulty with the clarinet in many modern jazz groups and big bands for sheer projection and volume reasons alone. It often has to resort to its sometimes shrill high register to be heard above these ensembles and, as a result, is compromised musically.
Practitioners of the instrument will no doubt be aware of the limpid and loamy qualities of the clarinet's chalumeau register, which is probably its least known and featured attribute. However, this was an area of the instrument that Ellington highlighted frequently with 1930s Crescent City stylists like Barney Bigard and Otto Hardwicke, as well as the more modem Jimmy Hamilton.
Tenorist and clarinettist Mark Crooks brings many of the clarinet's sides to light in this CD on the Mac label, How My Heart Sings ,with great effect. This is accomplished through no mean contribution by the crack rhythm support team present, led by pianist John 'the pro' Pearce, a consummate accompanist whose elegant melodocisms in his solos do much to spice up the proceedings. Bassist Matt 'Melody' Miles's timekeeping is matched by his unrelenting lyricism in his improvisations and drummer to the stars, Steve 'Beat' Brown's steady time is enhanced by his ebullient verve both as a person and percussive conversationalist. The added bonus on this date is the rich-toned guitar of Colin 'Ice' Oxley, whose solos burn coolly, laced with steadfast poise. One of the highlights included is Gershwin's Bess You Is My Woman Now from his seminal 1934 opera. Played poignantly by just clarinet and piano the melancholic yearning passion of the piece is captured to its tearful best. As the late saxophonist, Spike Robinson said to young lion Mark a few years back, 'if the tune's good enough, why spoil it, just play the tune'. The listener bathes in the pathos of the clarinet lament yet is heartened by the hopeful grace of John Pearce's rhapsodic, yet supportive piano.
Mark's Zootish tenor picks the mood up a bit with its swing and swagger on his original Everytime along with the Hague/Horwitz evergreen Young and Foolish. Other clarinet offerings include the title track composed by pianist Bill Evans's friend Earl Zindars, and the London-based American bandleader Carroll Gibbons's opus Garden in the Rain.
This disc features something for everyone; as well as a virtual history of the styles and colours beholden to the clarinet there is some fruity tenor sax to add muscle and bounce. ~Frank Griffith.
How My Heart Sings
