Showing posts with label Oliver Lake. Show all posts
Showing posts with label Oliver Lake. Show all posts

Thursday, December 22, 2016

Tarbaby - Ballad of Sam Langford

Styles: Jazz, Post-Bop
Year: 2013
File: MP3@320K/s
Time: 57:36
Size: 133,9 MB
Art: Front

(2:12)  1. Title Bout (Opening Round)
(4:53)  2. Aztec
(4:12)  3. When
(5:13)  4. MBBS
(7:23)  5. Rolling Vamp
(3:20)  6. Kush
(6:13)  7. Korean Bounce
(3:43)  8. Asiam
(3:04)  9. Hat Trick
(6:48) 10. August
(3:21) 11. Nobody Knows
(2:19) 12. Come
(4:47) 13. Title Bout

The Ballad of Sam Langford represents an auspicious third chapter in the recorded history of this adventurous cooperative trio, with guests. So their collective name is Tarbaby; exactly where did that provocative moniker originate, what inspired pianist Orrin Evans, bassist Eric Revis, and drummer Nasheet Waits to come up with that one? Was it the literary mind of Evans, son of a prominent playwright and by dint of his previous recordings, a man certainly not bereft of either humor or imagination? Or was it the adventurous likes of Revis, known also as the bassist of the Branford Marsalis Quartet, or perhaps Waits, the crafty drummer in another bristling trio, Jason Moran’s Bandwagon? The answer stems from boxing annals, and the title of this recording is homage to the source. Turn of the 20th century Canadian boxer Sam Langford, hailed by ESPN as the “Greatest fighter nobody knows,” was known as a fearsome puncher (Ring magazine rated him in its “100 greatest punchers of all time” list). No less than the great Jack Johnson is reputed to have ducked the compact (5’6 ½” 185 lbs.) pugilist, so prodigious were his skills. Langford was known by several sobriquets, the most impertinent being “The Boston Tar Baby”, thus the name of this exceptional trio. His story certainly sounds like one Orrin Evans’ late father, the playwright Don Evans might have championed theatrically.

Tarbaby’s first complete album The End of Fear, released in 2010 (their debut was a self-titled 2009 EP), invited three guests into their inventive lair, saxophonists JD Allen and Oliver Lake, and trumpeter Nicholas Payton. This time out they’ve invited Lake back for a second go on six tracks, as well as trumpeter Ambrose Akinmusire for an equal number. The rather inside/out perspectives of Lake and Akinmusire are a good match for Tarbaby’s ambitious tableaux. “Mr. Lake has lived this aesthetic for quite some time,” remarks Revis. “His contributions on and off the bandstand are immeasurable. To witness his artistic vitality in music, art and life is a tremendous source of inspiration to us all,” he continues on Lake, a man whose robust career has ranged from neo reggae to the World Saxophone Quartet to jump blues to new sonic textures. “Oliver recorded with my father, [drummer] Freddie Waits over 25 years ago. His sound is incredible!!! He’s a story teller of the highest order,” enthuses Waits. Akinmusire, the noted trumpet ace who records for Blue Note, is from the generation that arrived just after Evans, Revis and Waits. But he fits the Tarbaby approach quite comfortably and contributes quite essentially to this disc. “I’ve had the pleasure of working with Ambrose in some other situations, so I know he shares the same artistic integrity as we do,” says Waits. “Our goal in this music is to adhere to the concept of the continuum,” continues Revis. “Acknowledging and having a deep reference for tradition, while being very much committed to an artistic trajectory that is forward in nature. Ambrose embodies this aesthetic, so it was very natural for us to choose him as someone we wanted to collaborate with,” the bassist says of his fellow Californian.

Throughout this disc there is a keen sense of drama, in the way themes are stated and improvisations embellish those themes, as well as in the vigorous nature of playing these five musicians consistently display. Befitting the core trio’s co-led nature, no one figure ever predominates, not merely in the case of the whole program, but also within the 13 episodes that comprise this disc; and these are most assuredly episodes, or movements if you prefer, more than mere tunes. Tarbaby lays down a fine sense of true programming with this release; and believe me, there’s a fine line between programming and just playing tunes. “Title Bout” is a sonic prelude to the delicacies that follow, with Lake’s slightly acidic alto neatly balancing Ambrose’s subtle clarion. Lake’s “Aztec” bears the hang/fly quality of his inside/out perspectives. “When” is a pastoral Evans’ arrangement that bears a certain foreboding quality while seemingly asking musical questions. The pianist’s “MBBS is a line reminiscent of Jackie McLean. After Lake and Akinmusire state its pithy theme, and following a compact discourse from the trumpeter, the trail opens for Evans’ assertive swing with Revis and Waits; Ambrose and Revis dialogue on the dissolve.“Rolling Vamp” is Lake’s second contribution to this date, finding Ambrose riding the waves of Waits. “Kush” is a lovely dark chocolate ballad from Waits; listen to the way the trio breathes as one here. On Waits’ “Korean Bounce” dig how the composer’s crafty drum work elicits some overblowing and puckish mouthpiece manipulation from the trumpeter, prior to a free arco interlude from Revis; seems this Korean journey may have been a bit fraught with intrigue. Akinmusire’s contribution “Asiam” is a lovely trumpet/piano duet.

These 13 original compositions include four pieces collectively contributed by Tarbaby: the opening and closing episodes of “Title Bout”, “Nobody Knows,” and “Hat Trick.” Asked how the band goes about the task of collective composition, Revis says “The three of us have worked as a unit for over 10 years and we have known each other and worked in a variety of configurations even longer. One of the reasons we formed the group was our almost preternatural rapport. We think very much alike as to how we interpret music.” And with respect to their collective composition represented on this disc, “We decided to go in with either no preconceived ideas or very skeletal sketches,” says the bassist. “The tunes took on their shapes and personalities almost instantly.” Adds Waits, “We are like-minded in myriad ways. When there are discussions of the path (melody, rhythm, harmony… decisions were made expeditiously.” 

This chapter of Tarbaby is released on the independent Hipnotic Records label, the catalogue of the ambitious DC-based Tony Haywood, whose recordings reflect a keen eye for creativity. “I look for artists who have a strong reverence for jazz tradition and who also bring an original approach to the music through their playing, composing and arranging. Tarbaby obviously fits the bill with the dynamism and creative intensity they bring, individually and collectively. Oliver and Ambrose clearly are important and like-minded voices on their instruments,” agrees Haywood. Here’s a record that should rank high in year-end assessments because it has all the earmarks even before you give it a spin: a first class core and rhythm section, two distinctive guest instrumental voices – one somewhat younger, the other someone the core trio came up listening to and appreciating for his range of experiences and compositions which continually reveal their gifts with repeated spins. Willard Jenkins is a journalist-concerts & festivals presenter-consultant, broadcaster at WPFW in Washington, DC and author of African Rhythms, the autobiography of Randy Weston (Duke University Press). http://www.cdbaby.com/cd/tarbaby3

Personnel:  Orrin Evans-piano, Eric Revis-bass, Nasheet Waits-drums, Oliver Lake-alto saxophone, Ambrose Akinmusire-trumpet.

Ballad of Sam Langford

Sunday, December 7, 2014

Oliver Lake - Makin' It / What I Heard

Album: Makin' It
Size: 118,1 MB
Time: 51:14
File: MP3 @ 320K/s
Released: 2008
Styles: Jazz: Funk/Groove
Art: Front

01. In Walked John (6:56)
02. Gano (1:31)
03. Say Girl (5:35)
04. Spirit Of Man (5:59)
05. Nu Peace (5:23)
06. Move Groove (3:35)
07. Makin' It (8:16)
08. Dedicated To B. C (5:15)
09. Olla's Blues (Feat.Oliver Lake) (2:17)
10. I Want To Walk With Jesus (6:23)

This album finds alto saxophonist Oliver Lake in a groovesome incarnation, less disposed than usual towards avant exploration. He's utilizing the classic Hammond organ construction, though without any guitarist in sight. It's just Lake, B3 man Jared Gold and drummer Johnathan Blake, getting pretty close to the expectations of a '60s formula, though still surprising with a few sideways tweaks. The session is produced by Lake's son Jahi, capturing a fully pulsing sound throughout, solid, warm and fruity.

"In Walked John" makes a bold opener, the first of two numbers written by the departed Chicagoan trumpeter Malachi Thompson, establishing the tones to come with its typical trundle. All of the other tunes are scribed by Lake himself, besides the traditional gospel conclusion "I Want To Walk With Jesus." "Gano" follows, beginning with an insistent fanfare figure that gives way to a walking groove. Gold's solo is percussively spiky, then Lake's alto is in its bluesiest state for "Say Girl," soulfully singing over Blake's skipping beats.

Lake repeatedly nudges the edges of free playing, but within a context of linear body-nodding. Gold's foot-pedal basslines sound completely separated from the mind that's operating the upper keys, which is a positive factor, effectively creating a phantom band member who achieves some remarkably low notes. "Move Groove" states its ambulatory, circling theme, jittery drumwork making way for the agitated organ spillage of the title cut, as the leader continues his wiry alto contortions. "Dedicated To B.C." is the most conventionally jazz-funkin' piece (almost too much so) and the finger-clickin' "Jesus" heads towards a steaming climax. This is Lake as he's rarely heard and offers a refreshing alternative to his mostly out-there output. ~Martin Longley

Personnel: Oliver Lake: alto saxophone; Jared Gold: Hammond B3 organ; Johnathan Blake: drums..

Makin' It

Album: What I Heard
Size: 122,0 MB
Time: 52:45
File: MP3 @ 320K/s
Released: 2014
Styles: Jazz: Funk/Groove
Art: Front

01. 6 & 3 (5:58)
02. What I Heard (7:40)
03. Palma (7:56)
04. Cyan (6:35)
05. Root (4:18)
06. Human Voice (5:07)
07. Lucky One (7:08)
08. Etc (5:22)
09. Thank You (2:39)

Alto saxophone titan Oliver Lake has enjoyed an interesting, varied career even strictly within the confines of the World Saxophone Quartet he co-founded with Julius Hemphill, David Murray and Hamiet Bluiett, and it gets even more so when examining his works as a leader. It seems that the only constant for Lake is his unquenchable thirst for trying out new approaches to jazz.

His latest angle was hatched in the late 00s with the Oliver Lake Organ Trio that included Jared Gold (Hammond B3) and Jonathan Blake (drums), and they issued a single album, Makin’ It (2008) before the trio became a quartet with the addition of trumpet ace Freddie Hendrix for 2010’s Plan. It appeared as if Lake had already moved on from this concept with forays into big band and a more traditional acoustic small combo, but What I Heard (November 18, 2014, Passin’ Thru Records) is a clear signal that Lake ain’t done with the organ just yet.

A small combo featuring the Hammond B3 led by most anybody else wouldn’t be such a big deal — so much of organ jazz is groove-laden but also predictable — but this is Oliver Lake we’re talking about, here. The thing about Lake both as a composer and performer is that it’s clear he draws from blues, bop, RnB and avant-garde, but his music can’t be comfortably described as any of those things. So it goes for What I Heard, which brings back Gold and Hendrix, and Blake replaced by Chris Beck.

“6 & 3? sets the template for all the blessed eccentrics that grace this album: A labyrinthine pattern underpinned by Beck’s mutated bossa nova rhythm is expressed by angular unison trumpet/sax phrasings, as the organ and horns occupy different areas of the harmony. The solos section is signaled by an unexpected shift, in this case, a pause and a drum roll (on other songs, the theme alters and/or the beat). Lake’s expressions skirt the fringes of tonality and sometimes cross over, but whether he’s “in” or “out” he’s is himself and no one else. Hendrix’s detached manner works as an effective counterpoint to Lake, but his tone also pierce through sometimes to maintain the intensity.

“Human Voice” has a similarly esoteric structure, but even more jagged in how the song jumps from one root and rhythm to another and jumps right back. Just as you think Lake & Co. has settled into a predictable pattern, they fake you out. “Etc” features a new twist on the ol’ call and response device, countering Gold’s B3 expressions with sax/trumpet simultaneous solo counterpoints. Beck’s dynamic

Lake might be the cornerstone for this highly peculiar kind of organ jazz, but discount the contributions of the organ player himself. Jared Gold acts as a perfect extension of Lake’s singular sax approach, and the irregular patterns in which he places chords in opposition to Hendrix and Lake do much to create an uncommon sound from such a common format. He’s cerebral, coy playing works the spaces between the notes with a deftness usually reserved for the best horn players. His sharp sense of phrasing alters the harmonics of the aforementioned “6 & 3,” and he contributes to an intriguing syncopation on “Palma.” When he solos as he does on “What I Heard,” it’s much more akin to Larry Young than Jack McDuff. This is the Jared Gold who knocked it way out of the park on his own similarly conceived All Wrapped Up.

Throughout this record, Lake strikes a careful balance between the tonal and atonal, between swing and freeform jazz, but “Cyan” is a walk nearly entirely outside. What begins as a glowing, probing ballad erupts into a free-for-all about eighty seconds in and doesn’t let up. What is striking though, is that all four remained closely attuned to each other.

Oliver Lake’s four-decade legacy of striking his own path serves him well on his third recent organ excursion. That he can still make records that tower above nearly all of his contemporaries in terms of originality and freshness in 2014 should remind jazz aficionados that when considering the diminishing list of living sax legends, it’d be foolish to leave him off. ~S. Victor Aaron

What I Heard

Tuesday, December 2, 2014

Oliver Lake Organ Quartet - Plan

Size: 112,6 MB
Time: 48:18
File: MP3 @ 320K/s
Released: 2010
Styles: Jazz
Art: Front

01. Plan (3:43)
02. Backup (6:16)
03. Ta Ta Ta (5:48)
04. After Touch (8:33)
05. In This (6:05)
06. Spring-Ing (5:55)
07. 2 Parts Air (4:40)
08. Dance Two (7:15)

Personnel:
Oliver Lake - alto saxophone
Johnathan Blake - drums
Freddie Hendrix - trumpet
Jared Gold - Hammond b-3 organ

Eight original compositions by Oliver Lake are performed by his organ quartet with style, spirit and zeal. The album features some of the best young talented musicians in the New York area: brilliant organist Jared Gold, inspired by the great jazz organist Larry Young; Trumpeter Freddie Hendrix, reminiscent of the great Freddie Hubbard; and the highly creative drummer, Johnathan Blake. Lake's organ quartet takes these compositions on some unusual journeys for organ jazz, exploring freebop, funk, fun and musical conversations.

The veteran alto saxophonist advances the suspense from his previous 2008 organ quartet disc, Makin’ It. Lake comes out explosively from the opening title track, on which he employs his acerbic tone and sidewinding phrases in unison with trumpeter Freddie Hendrix before blasting off into a vigorous improvisation. Adding to the restive energy is Johnathon Blake’s propulsive drumming and Jared Gold’s squawking, almost pianistic approach to the Hammond B3. When the quartet explores a groove as on the bluesy “Backup” or the Latin-tinged “After Touch,” the rhythmic and harmonic foundation shifts unexpectedly and the front-line horns soar.

Plan