David S. Ware - Shakti

Styles: Saxophone Jazz
Year: 2008
File: MP3@320Ks/
Time: 68:16
Size: 157,5 MB
Art: Front

( 9:43) 1. Crossing Samsara
(18:14) 2. Nataraj
(12:43) 3. Reflection
( 8:31) 4. Namah
( 9:30) 5. Antidromic
( 9:33) 6. Shakti : Durga, Devi, Kali

Shakti is the triumphant return of tenor saxophonist David S. Ware. His first studio recording since 2003's Threads (Thirsty Ear), this album marks the recorded debut of his first working group since he disbanded his famously prolific quartet of 1989-2006. An acknowledged master of the tenor saxophone, Ware's influence spans his seminal days in the seventies loft-era to the early Downtown scene, where his exuberant performances encouraged a new generation to investigate the expressive potential of free jazz. His 23rd release as a leader, Shakti reveals Ware's deepening interest in Eastern philosophy and religion, exemplified by the exotic kalimba introduction to "Namah." Other than a reworking of "Antidromic" from his first AUM Fidelity album, 1997's Wisdom of Uncertainty, this session consists of all new pieces. Conceived around folk-like themes and lyrical fragments, these expansive tunes showcase a darkly poetic side of Ware's strident expressionism. With a mixture of sublime restraint and impassioned yearning, Ware channels his renowned volcanic intensity, concentrating his ecstatic detours and excessive pyrotechnics into a more nuanced approach. Although his circuitous cadences still brim with unfettered altissimo cries, braying multiphonics and coruscating lower register drones, they are tempered by an architectural sensibility that provides incisive focus.

Joined by assiduous bassist William Parker, Ware finds accord in two new ensemble mates, iconic guitarist Joe Morris and legendary drummer Warren Smith. Morris is one of today's most innovative and distinctive guitar stylists, a singular artist with an unparalleled approach and technique. Smith's career dates back to his seminal loft-era collaborations with such visionary avant gardists as Sam Rivers and Muhal Richard Abrams. Morris's first recording session with Ware reveals him to be a brilliant front-line foil for the master saxophonist. Morris's spiky, percolating phrases and bright, round tone create a brilliant contrast to Ware's vociferous linearity and dark, burnished timbre. Ware's effusive commentary dominates the proceedings, but Morris's unique contributions, such as his meticulously metered motifs on "Nataraj" or his spitfire needling on "Antidromic," are equally impressive. While no contemporary rhythm pairing can compare to Parker's clairvoyant work with drummer Hamid Drake, Parker's conversational interplay with Smith yields a malleable pan-African sensibility perfectly attuned to Ware's aesthetic. Their pliant dialogue provides a fluid undercurrent of forward momentum that gracefully modulates tempos and meters. Their sensitive rapport on "Reflection" is supple, while "Nataraj" demonstrates their ability to maintain a hypnotic groove even in the throes of deep abstraction. Ware presents another aspect of his artistry here, one whose seeds were planted early on with the archival 1999 studio recording BalladWare (Thirsty Ear, 2006). A refreshingly lyrical and emotionally committed performance by masterful improvisers, Shakti ebbs with soulful intensity and inspired interplay, making this one of the most compelling, yet accessible, recordings of Ware's career.
~Troy Collins https://www.allaboutjazz.com/shakti-david-s-ware-aum-fidelity-review-by-troy-collins.php

Personnel: David S. Ware: tenor saxophone and kalimba (4); Joe Morris: guitar and percussion (4); William Parker: bass; Warren Smith: drums and percussion.

Shakti

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David S. Ware Quartet - Wisdom of Uncertainty

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 62:36
Size: 144,0 MB
Art: Front

(12:44)  1. Acclimation
( 7:46)  2. Antidromic
(15:33)  3. Utopic
( 7:16)  4. Alignment
( 7:41)  5. Sunbows Rainsets Blue
(11:33)  6. Continuum

The first recorded appearance of drummer Susie Ibarra with the David S. Ware Quartet is an auspicious one to be sure. Her contrasting style with former drummer Whit Dickey is one of both physicality and fluidity. Ibarra is a far more physical drummer than Dickey is, and is given to deep rhythmic grooves that produce dance-like flourishes in her accents and fills. How that affects the band is obvious from the opening bars of "Acclimation," where her snare and cymbal work set the pace for Ware, who enters singing. Shipp carries in a seriously blues-inflected chordal series of minor thirds and sixths, and Parker is happier than a clam, as his full physical manner of playing is given depth and breadth here. The band charges Ware's compositions (yes compositions), cornering the tiger in them, only to let it loose again in order to chase it down. There is a brightness and fullness in Ibarra's approach that offers Ware more room to fluctuate in his legato phrasing, turning it over and moving through a series of obligato and even ostinatos in his melodic workups and in his solos -- check the long breaks in "Utopic" and "Continuum." Likewise, Shipp is free to rumble around in the deep registers of the piano he so enjoys, as he does on the opener and "Antidromic." His blocky style is far more fluid on this recording, as it shifts its right hands maneuvers with Ibarra's angular accents and around the kit flails and rolls check her solo in "Utopic." This is a record that sings; its song is a wild and wooly one to be sure, but it is a giant leap compositionally for Ware, and for the ensemble with its new drummer. ~ Thom Jurek https://www.allmusic.com/album/wisdom-of-uncertainty-mw0000031416

Personnel:  David S. Ware – tenor sax;  Matthew Shipp – piano;  William Parker – bass;  Susie Ibarra – drums

Wisdom of Uncertainty

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David S. Ware Quartet - Corridors & Parallels

Styles: Saxophone Jazz
Year: 2002
File: MP3@320K/s
Time: 48:55
Size: 112,1 MB
Art: Front

( 1:20)  1. Untitled
(10:02)  2. Straight Track
( 4:22)  3. Jazz Sci-Fi
( 5:58)  4. Superimposed
( 3:08)  5. Sound-a-Bye
( 0:37)  6. Untitled
( 8:59)  7. Corridors & Parallels
( 3:11)  8. Somewhere
( 3:17)  9. Spaces Embraces
( 6:07) 10. Mother May You Rest in Bliss
( 1:48) 11. Untitled

On Corridors & Parallels, you can almost feel tenor saxophonist David S. Ware reaching for the sky. It's a high-octane experience. His yearning, seeking vision on the horn always aims for new heights, and on this record he definitely manages to get just a little closer. The new David S. Ware Quartet record distinguishes itself from the first 12 (!!) with the following two features: * it includes electronic music for the first time; and * it represents Ware's big "comeback" from his major label contract.

About that first part, don't be fearful: Matthew Shipp has figured out how to play the synthesizer just fine. And about the second, be joyous: those corporate tentacles always reach into nooks and crannies and manage to smooth out hard edges where they're most needed. Music always works better when those evil tentacles disappear from the scene, in this listener's opinion. It's hard to classify Corridors & Parallels because the record has so many unexpected angles and quirks. "Superimposed," for example, is a duet between Shipp and Ware. Shipp plays a pre-programmed rhythm track along with additional elements dynamically added live. Meanwhile Ware wastes no time in this context to draw ever-narrowing circles of light, but his integration into the rhythmic feel of the piece is patently devoted. (On other tunes, real live drummer Guillermo E. Brown makes himself quite visible. Brown's prowess and versatility are dumbfounding throughout Corridors & Parallels. It's been said before, but the world of music needs more from Guillermo E. Brown. As Ware put it in typical understatement last we talked, "Guillermo can play the drums." Indeed.) Only one tune after "Superimposed," "Sound-A-Bye" takes an eastern drone effect to its physical and virtual limits. Here Ware challenges the stereotype that his music must always be fast and furious; and the argument is quite compelling. Bells, gongs, and church-like keyboards accompany Ware on a five-minute excursion through just about as many notes. (And that's not under-exaggerating by much.) About Shipp's melodic synthesizer on Corridors & Parallels : it's generally not terribly polyphonic, and he generally doesn't change voices midway through a piece. That, of course, converts Shipp's role from the wildly unpredictable, explosive human dynamo to the pensive and taciturn commentator. He's an extremely smart player, so he adapts well to the new role. It's interesting. It works. When he chooses to play synth drums, the product can be so good it fools the human ear into thinking about drum kits. (Fooled mine on "Superimposed," until I learned the truth.) Ware has invaded a new dimension of sound on Corridors & Parallels. He's making more use textured drumming, including Guillermo Brown's many colors of expression, and he's reinvented Shipp's role in the group. This new effort is a fine record: a living document of an group in flux, and a stand-alone work of art. It will be quite revealing to hear what happens next after such a dramatic change. This is living, breathing music. ~ AAJ Staff https://www.allaboutjazz.com/corridors-and-parallels-aum-fidelity-review-by-aaj-staff.php

Personnel: David S. Ware: tenor saxophone; Matthew Shipp: synthesizer; William Parker: bass; Guillermo E. Brown: drums.

Corridors & Parallels

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David S. Ware Trio - Passage to Music

Styles: Saxophone Jazz
Year: 1995
File: MP3@320K/s
Time: 69:28
Size: 159,4 MB
Art: Front

( 5:50)  1. An Ancient Formula
( 7:35)  2. Ancient Visitors
(10:51)  3. Passage to Music
(10:52)  4. African Secrets
(13:24)  5. The Elders Path
( 9:06)  6. Phonetic Hymn
(11:47)  7. Mystery

A fiery avant-garde tenor saxophonist, David Ware had recorded two early sets for Hat Hut and Palm during 1977-78; a decade later he had his third opportunity to lead a record session. Joined by bassist William Parker and drummer Marc Edwards, Ware performs five of his free jazz originals, mostly on tenor but also playing one song apiece on saxello and stritch. 

Not for the weak-of-heart, David Ware's searching improvisations reward repeated listenings by open-eared listeners. ~ Scott Yanow https://www.allmusic.com/album/passage-to-music-mw0000256959

Personnel:   David S. Ware - tenor saxophone, producer, saxello, stritch;  William Parker - bass;  Marc Edwards - drums

Passage to Music

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David S. Ware / Apogee - Birth Of A Being Disc 1 And Disc 2

Album: Birth Of A Being Disc 1

Styles: Saxophone Jazz
Year: 2015
File: MP3@320K/s
Time: 53:15 + 52:44
Size: 122,4 MB + 121,3 MB 
Art: Front

(10:54)  1. Prayer
(16:33)  2. Thematic Womb
(13:47)  3. A Primary Piece #1
(12:00)  4. A Primary Piece #2

Album: Birth Of A Being Disc 2

(12:07)  1. Prayer
(14:06)  2. Cry
(17:04)  3. Stop Time
( 2:29)  4. Ashimba
( 6:55)  5. Solo

Birth of a Being presents the debut of the trio called Apogee -David S. Ware , Cooper-Moore , Marc Edwards -originariamente printed on vinyl by Swiss label hat Hut in 1979 and remained out of print for more than thirty years, more than a second of material CD coming from the same session and never published until now. If the debut album by the saxophonist leaders of Plainfield, New Jersey, lays the foundation of the celebrated quartet that recorded for Columbia and DIW in the nineties, the unpublished material heard in the second CD, while lacking the compactness and the impact force of the previous, however, contains more than a source of interest.  The beginning of everything is "Prayer," a mission statement that will accompany Ware throughout his career until his premature death in October of 2012. That is a tremendous spiritual inspiration which is expressed through grueling rides on tenor who moans, screams , screaming, whispering, communicates all the possible range of feelings, passions, joys and sorrows with repetitive notes and crazy spirals. Edwards on drums provide a rhythmic hellish, stifling, does not grant reprieve while Cooper-Moore becomes the alienating element, dissonant clusters and transform his piano in contrast fluid for the reaction of the trio.  Music that stuns, that leaves you breathless and without appeal, the tradition as an irreplaceable sap, expressive frenzy as the only escape route. 

The sublimation of this aesthetic will be completed, it was said, in the albums of the nineties especially in Godspelized , one of the vertices of a musician and as few others endeavored to gather and expand the legacy of John Coltrane. The second CD, as well as an alternate take of "Prayer" still interesting, shows the more reflective side of Ware. "Cry" and "Stop Time" -over thirty minutes overall -privilegiano interplay, the trio balances into its components, loses some vehemence and visionary but enhances the dense web of connections that are established between musicians in full harmony and wrapped in a sort of enigmatic suppleness. "Ashimba" sees Cooper-Moore grappling with a xylophone of its construction (a practice that more and more will refine over the years, that of the construction of original instruments) for two minutes of pure ancestral magic. While "only" it is the lone breath of Ware, the final prayer of a nodal registration for the developments of the David S. Ware career. Precious. Translate by Google ~ Vicenzo Roggero https://www.allaboutjazz.com/apogee-birth-of-a-being-david-s-ware-aum-fidelity-review-by-vincenzo-roggero.php
 

Personnel: David S. Ware: tenor sax;  Cooper-Moore: piano;  Marc Edwards: drums.

Birth Of A Being Disc 1
Birth Of A Being Disc 2

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David S. Ware Quartet - Go See The World

Styles: Saxophone Jazz
Year: 1997
File: MP3@320K/s
Time: 68:06
Size: 157,1 MB
Art: Front

( 6:06)  1. Mikuro's Blues
(10:26)  2. Lexicon
( 9:56)  3. Logistic
(14:37)  4. The Way We Were
( 4:47)  5. Quadrahex
(11:33)  6. Estheticmetric
(10:38)  7. Rapturelodic

“Go See The World” represents tenor saxophonist David S Ware’s initial and much anticipated release for Columbia Records. Branford Marsalis’ recent appointment as creative consultant for the label’s jazz division has paved the way for Ware’s induction to Columbia Records. Historically, tenure at Columbia for non-mainstream jazz musicians of similar backgrounds namely Henry Threadgill and David Murray was for the most part short-lived. If Columbia Records is serious and not overtly concerned with substantial profits and quick return than this may be a good thing. Otherwise, Columbia’s seemingly abundant marketing/publicity budget should serve as a good promotional vehicle for Mr. Ware. Thankfully, David S. Ware made little or no concessions to streamline his musical approach in the wake of Columbia’s endorsement. 

“Go See The World” is a continuation of Ware’s ever-evolving musical journey. Besides, no one can reasonably ascertain that David S. Ware suffers from a lack of energy or motivation. He is a true “force of nature”. Ware’s band mates are: William Parker: bass; Matthew Shipp: piano and New York City downtown drummer, Susie Ibarra who replaces long time associate Whit Dickey. The track titled “Lexicon” features Ware’s forceful and explosive signature style. Ware moans, groans, honks, screeches and injects flurries of melodic statements reminding us that somewhere underneath all the dynamics there is a song. Ware benefits from pianist Matthew Shipp’s swirling, heavy-handed chord phrasings and acute ear. Shipp provides much of the color in this band while Parker and Ibarra suggest odd rhythmic patterns, which skillfully compliment Ware’s stratospheric extrapolations into new frontiers. “Lexicon” also features some interesting arco-bass passages from the incredibly adept William Parker. Compelling dialogue ensues while Ware takes a much-needed breather. Marvin Hamlisch’s ballad “The Way We Were” is given the once over here. Ware expends quite a bit of energy during his rendition of this somewhat grandiose love song. Clocking in at 14 minutes it seems almost comical that Ware would pick such a tune as a foray into avant-garde digressions. Here, Ware seems driven and his personalized approach borders on the spiritual. Shipp performs a lovely piano interlude by toying with and suggesting the melody while eventually leading into a bombastic crescendo of flailing keys. Ware concludes with gut-wrenching conviction. “Quadrahex” is a rhythmically free and improvisational piece, which entails a good dose of dialogue among the band members. “Estheticmetric” is perhaps an ode to Ware’s NYC Loft Days featuring more exchanges of free style dialogue accented by some absorbing bass lines from Parker. Ware darts, jabs and appears comfortable during these musical exchanges, which firmly identifies his intentions.  Hopefully Mr. Ware and Columbia will enjoy a healthy, long-term relationship and open up some ears for curious listeners who yearn for something different. However, at times “Go See The World” suffers from sameness in content and doesn’t adhere to compositional form to any observable degree. Ware does not aim to finesse with subtlety and nuance. His style while expressive and at times free, may tend to overwhelm. Otherwise we can accept Mr. Ware for his positive and keen awareness of jazz vernacular. David S. Ware has honed a unique voice on the tenor saxophone and consistently receives astonishing support from a very accomplished band. We wish him the best of luck with Columbia Records.~ Glenn Astarita https://www.allaboutjazz.com/go-see-the-world-david-s-ware-columbia-records-review-by-glenn-astarita.php

Personnel: David S. Ware (tenor saxophone); Matthew Shipp (piano); William Parker (bass); Susie Ibarra (drums).

Go See The World

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