Albert Heath, Ben Street & Ethan Iverson - Philadelphia Beat

Styles: Jazz, Post-Bop
Year: 2015
File: MP3@320K/s
Time: 50:25
Size: 115,9 MB
Art: Front

(4:24)  1. Bag's Groove
(3:50)  2. Reets and I
(3:44)  3. I Will Survive
(4:49)  4. Concorde
(6:15)  5. Memories of You
(3:04)  6. Con Alma
(3:02)  7. Wachet auf, ruft uns die Stimme
(3:30)  8. Bye-Ya
(4:52)  9. Everything Must Change
(4:09) 10. Speak Low
(3:19) 11. Pentatonic Etude
(5:22) 12. Bakai

Eighty years of fragrance are those of Albert "Tootie" Heath , judging by the quality of the game basted in a trio with the plan of Ethan Iverson and the bass of Ben Street , a game now in its third and most successful hand, voted in the rules unwritten of the jazz school in Philadelphia. A Magisterium, to Heath, formed on lightness, taste subtraction, it said in decades of acquaintances at the top of the history of jazz (asArt Farmer to Yusef Lateef , as Dexter Gordon to John Coltrane, down to Anthony Braxton and Roscoe Mitchell ...) This trio seems to deepen the attitude of Iverson to break down to a minimum the syntax of the standards: where with the Bad Plus pianist uses the art of a baroque masked, with an overload of dynamics, here on the contrary he seems even to dry the pasta of the agreements, insisting on a melodic cantabile whose irregularities mention with continuous syncopations and thin contour colors. The bank that the low Street is able to offer the pianist stands out tonally sense that rhythm, chasing osmosis perfectly realized. The percussion of the great Heath start dancing and lead with extraordinary skill, suggesting unexpected openings, ironic asides, punctuation scathing. It is a different way short of remaking the classic feel of this formula, in a path that draws Iverson still following in the footsteps of a genealogy piano: John Lewis , Lennie Tristano ,Bud Powell , Thelonious Monk , Mal Waldron .

There is the scent of Modern Jazz Quartet in several episodes, the initial "Bag's Groove" to an enchanting "Concorde" which cites the beginning Heath the "I'm an Old Cowhand" rollinsiana. The Powell-Monk line (so to speak ..) passes through the beauty of "Reets and I" up to a luxury "Bye-Ya" which pays tribute to Heath Art Blakey and feels ... An alienating treatment is reserved the cult of the album "I Will Survive," loved by Iverson to the point of even sing live (heard years ago in trio Billy Hart ): here the theme is announced by a whirlwind of color scales and slightly dissonant harmony. But think now not too speculative transactions: the music remains clear and fresh, even in the simple magic tricks. How to confirm the literal reading of "Everything Must Change," with reference to that of Mal Waldron of almost thirty years ago, and the Afro-Cuban of "Bakai" which closes the program.  Libretto of very well done CD, with introductions to individual pieces of Iverson , vintage photos of Tootie with Hi-Tones and Bee-Boppers and other current, taken to the mythical Clef Club next door to friends Buster Williams , Mickey Roker , Sam Reed. ~ Stefano Merighi  https://www.allaboutjazz.com/philadelphia-beat-albert-tootie-heath-ethan-iverson-ben-street-sunnyside-records-review-by-stefano-merighi.php (Translate by Google)

Personnel: Albert Tootie Heath: drums; Ethan Iverson: piano, electric piano; Ben Street: bass.

Philadelphia Beat

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