Showing posts with label Patrick Cornelius. Show all posts
Showing posts with label Patrick Cornelius. Show all posts

Wednesday, January 31, 2024

Patrick Cornelius - Book Of Secrets

Styles: Alto Saxophone, Clarinet, Alto Flute
Year: 2023
File: MP3@320K/s
Time: 65:55
Size: 152,0 MB
Art: Front

(5:15) 1. Archetype
(4:37) 2. Legend Has It
(4:49) 3. If You Can
(4:03) 4. Lady Of The Clouds
(5:44) 5. Book Of Secrets
(6:45) 6. Puzzle Box
(4:36) 7. A Wish
(5:21) 8. Ambition
(5:25) 9. The Way
(6:36) 10. Inner Sanctum
(6:43) 11. The Glory
(5:55) 12. Days End

Patrick Cornelius’s new offering, Book of Secrets, is akin to opening a chest of forgotten heirloom seeds. Each composition unfolds like a rare, precious plant, with Cornelius and his skilled band cultivating a lush, fertile musical landscape that yields tidbits for our jazz gastronomic enjoyment.

Cornelius leads his formidable ensemble on Book of Secrets, showcasing his versatility across instruments: the alto saxophone on tracks 1, 5, 6, 8, and 11; the soprano saxophone on tracks 2, 3, and 12; the clarinet on tracks 4 and 9; and the alto flute on tracks 7 and 10. The unique tonality of Behn Gillece’s vibraphone can be savored on all tracks but 4 and 12, while Art Hirahara’s piano, Peter Slavov’s bass, and Vinnie Sperrazza’s drums create a savory rhythmic base for this flavorful musical stew. Diego Rivera’s tenor saxophone adds a spicy note on tracks 6 and 9, complemented by Altin Sencalar’s rich trombone on track 9. All these, masterfully brought together under the deft hands of producer Marc Free and engineered by Nick O’Toole, form a robust ensemble, a musical pot-au-feu simmering with artistry and passion.

Book of Secrets unfolds like a rare heirloom tomato: each track has a unique variety, flourishing under the nurturing care of this skilled ensemble. The opening track, “Archetype,” starts as the first light of dawn, the alto saxophone rippling forth with melodies as vibrant as heirloom tomatoes bursting under the sunrise. The vibraphone lends a sparkling dew-kissed texture, a delicacy as tantalizing as the first bite of the sun-ripened fruit.

“Legend Has It” is akin to an old vine winding through the sonic space with a narrative force. Cornelius’ soprano saxophone weaves intricate tendrils, climbing over the sturdy trellis of the piano and rhythm section, while the vibraphone glistens like morning dew on leaves. This track is an old vine wine, rich with history and depth, leaving the listener with a lingering aftertaste of rhythmic complexity.

“Lady Of The Clouds” presents Cornelius’ talent on the clarinet, a gentle summer rain that quenches the eager earth, the notes pouring down like warm droplets onto a leafy salad, enhancing its organic crunch.

The title track, “Book of Secrets,” is a testimony to the ensemble’s ability to sync as if they were a vibrant musical ecosystem. The alto flute’s haunting melody serves as a will-o’-the-wisp, leading the listener deeper into the album’s secret garden. The song blossoms open like a night-blooming jasmine, its aromatic allure floating over the hushed whispers of the rhythm section.

“Puzzle Box” is the garden’s maze, the pathways crisscrossing, intersecting, and leading to unexpected delights. Cornelius’ alto saxophone, along with the guest tenor saxophone by Diego Rivera, sets up a playful conversation, winding up and down the chromatic scales like ivy.

The tracks “Ambition,” “The Way,” “Inner Sanctum,” and “The Glory” encapsulate the gastronomic journey from entrée to dessert, each representing a season’s harvest at its peak, resplendent with flavor. The album concludes with “Days End,” a final toast to the evening, Cornelius’ soprano sax offering the lingering, sweet note of a dessert wine.

Book of Secrets is a feast for the senses, each musician a chef who knows when to chop, simmer, and serve their notes. Just like in a well-prepared meal, the elements coexist, thrive, and create a gastronomic spectacle of vibrant taste and aroma. Whether you’re a seasoned gourmet of jazz or just starting your journey into this rich cuisine, this album is an enticing exploration into the hidden layers of flavor in the world of jazz.

In conclusion, Book of Secrets is a delicately balanced ecosystem of musical interaction, with each track flowering into a unique auditory experience. Just like in a well-maintained garden, the elements coexist, thrive, and create a unified spectacle of vibrant life. Whether you’re a seasoned connoisseur of jazz or just beginning your journey into the genre, this album will be an enchanting exploration of the hidden nooks and crannies in the garden of jazz.By Nolan DeBuke https://thejazzword.com/2023/08/patrick-cornelius-book-of-secrets-review/

Personnel:

Patrick Cornelius - alto saxophone 1, 5, 6, 8, 11; soprano saxophone 2, 3, 12; clarinet 4 & 9; alto flute 7 & 10

Behn Gillece - vibraphone (not on 4 & 12); Art Hirahara - piano; Peter Slavov - bass; Vinnie Sperrazza - drums; Diego Rivera - tenor saxophone 6 & 9; Altin Sencalar - trombone 9

Book Of Secrets

Monday, November 29, 2021

Patrick Cornelius - Acadia: Way of the Cairns

Styles: Saxophone Jazz
Year: 2020
File: MP3@320K/s
Time: 49:14
Size: 113,5 MB
Art: Front

(6:23) 1. Way of the Cairns
(6:56) 2. Star Party
(3:38) 3. Blueberry Mountain
(6:44) 4. Seawall Sunrise
(6:25) 5. Darkest Night
(5:04) 6. Valse Hesitante
(4:43) 7. Personal Beehives
(4:54) 8. On the Precipice
(4:23) 9. Ten Years Later

No, this is not an ECM album, though, looking at the sleeve art, you would be excused from thinking it was trying to pass itself off as one. Half of the Acadia quartet is indeed European: Estonian-born, German-based pianist Kristjan Randalu and Luxembourg-born, US-based drummer Paul Wiltgen. The other half is American: alto saxophonist Patrick Cornelius and US-born, London-based double bassist Michael Janisch. The music itself is a genuinely transatlantic affair, though the US is the dominant partner: Cornelius' vigorous straight-ahead playing and composing are the key sculpting elements, supported by Janisch's forceful presence. The band began life in the late 2000s as The Transatlantic Collective. Ten years after its last performance it reformed as Acadia, recording this album in the spring of 2019.

Acadia calls itself a collective, too. But this, like the sleeve design, is a bit confusing. The album is billed as by Cornelius, not Acadia; Cornelius wrote six of the eight tunes; and Cornelius is the producer (the other three musicians are given as co-producers). Just saying. No caveats about the music though. Its future facing trajectory is a kind of fast-forwarded update of alto saxophonist Jackie McLean's direction in the mid 1960s: firmly in the straight-ahead tradition but stretching the envelope venturesomely and mostly muscularly. Two non-Cornelius tunes provide a shift in dynamics: Randalu's "Valse Hésitante" and Wiltgen's closer, "Ten Years Later," are each somewhere between wistful and reflective.

It all makes for a satisfying mix, equal parts cerebral and visceral. Cornelius says that, while writing the material for the album, he had in mind America's National Parks, to which the album is dedicated. These, together with wider ecological concerns, have been the motivator of several late 2010s albums, kicking off with the trumpeter Wadada Leo Smith's America's National Parks (Cuneiform, 2016). Acadia: Way Of The Cairns is a fine addition to the oeuvre.~Chris May https://www.allaboutjazz.com/acadia-way-of-the-cairns-patrick-cornelius-whirlwind-recordings

Personnel: Patrick Cornelius: saxophone, alto; Kristjan Randalu: piano; Michael Janisch: bass; Paul Wiltgen: drums.

Acadia: Way of the Cairns

Saturday, December 29, 2018

Patrick Cornelius - Lucid Dream

Styles: Saxophone Jazz
Year: 2006
File: MP3@320K/s
Time: 60:04
Size: 138,1 MB
Art: Front

(6:33)  1. This Chair is Broken
(7:40)  2. Winds of Change
(8:25)  3. Pretty Self-Explanatory
(5:11)  4. Billie's Bounce
(6:36)  5. Alone Now
(6:27)  6. The Woods
(7:23)  7. Lucid Dream
(7:09)  8. Don't Give Up
(4:36)  9. April Rain

Contemporary mainstream jazz involves many factors, including composition, instrumentation, and environment; but the musician's ability to combine all these variables into their own concept is what makes the biggest impact on the listener. New York saxophonist Patrick Cornelius brings together all of these elements on his acoustic debut, Lucid Dream, yielding progressive, melodic and aesthetically pleasing music. The fact that Cornelius is a bold and gifted saxophonist becomes clear after listening to his dexterous and angular notes on both alto and soprano. But what also becomes apparent are his striking arranging and composing skills, manifested in the disc's nine selections. Making good use of a talented group of young musicians also helps, and the core members pianist Aaron Parks, bassist Sean Conly and drummer Kendrick Scott are all exemplary in their performances. The pieces (seven originals and two covers) are executed with an air of uptown vibrancy, as on "The Chair is Broken and "The Woods, where Cornelius is joined by trombonist Nick Vagenas and the two engage in tight horn arrangements and sure solos. One of the most savvy tunes is "Don't Give Up, by the pop singer Peter Gabriel (one of Cornelius' influences), sporting a polished melody with silky touches of Fender Rhodes and soprano sax. From beginning to end, this music is a satisfying mix of contemporary sounds. The disc closes with the warm "April Rain, colored by the voice of Gretchen Parlato. Other moments include a hot cover of Charlie Parker's "Billie's Bounce and the intelligently hip "Pretty Self-Explanatory, where everyone sounds superb. Two useful points of reference within contemporary jazz are pianist Robert Glasper and trumpeter David Weiss, who share a similar propensity for lyricism and fresh arrangements. ~ Mark F.Turner https://www.allaboutjazz.com/lucid-dream-patrick-cornelius-self-produced-review-by-mark-f-turner.php

Personnel: Patrick Cornelius: alto, tenor saxophone; Sean Conly: bass; Aaron Parks: piano, Fender Rhodes; Kendrick Scott: percussion, drums; Nick Vagenas: trombone (1,3,6,8). Gretchen Parlato: voice (9);

Lucid Dream

Wednesday, December 26, 2018

Patrick Cornelius - Maybe Steps

Styles: Saxophone Jazz
Year: 2011
File: MP3@320K/s
Time: 56:09
Size: 129,6 MB
Art: Front

(4:43)  1. Christmas Gift
(5:32)  2. Maybe Steps
(2:32)  3. Bella's Dreaming
(6:26)  4. Brother Gabriel
(4:47)  5. Shiver Song
(6:08)  6. Into The Stars
(6:17)  7. A Day Like Any Other
(5:51)  8. Echoes Of Summer
(4:55)  9. My Ship
(3:59) 10. Conception
(4:54) 11. Le Rendez-vous Final

Maybe Steps is alto saxophonist Patrick Cornelius' third album, and his first for the excellent Los Angeles-based Posi-Tone Records. He's joined by the talented rhythm section of pianist Gerald Clayton, bassist Peter Slavov and drummer Kendrick Scott in a graceful and melodically strong performance, mostly of his original tunes. Cornelius' compositions swing gracefully, with seemingly effortless ease on the part of all of the musicians. "Maybe Steps" typifies this relaxed groove; the tune also appears on Cornelius' second album, Fierce (Whirlwind Recordings, 2010) where it was characterized by a brighter sound and Michael Janisch's tough bass line. This new version is more effective, the subtle playing of Clayton, Slavov and Scott providing a perfectly judged backdrop to Cornelius' warm alto. On "Echoes of Summer," Cornelius is joined by guitarist Miles Okazaki, the two instruments complementing each other sonically and giving added depth to its melody. Ispired by Cornelius' baby daughter, "Bella's Dreaming" is a lovely ballad that displays the saxophonist's masterful control of his instrument. "Brother Gabriel," which Cornelius first recorded with the Transatlantic Collective on Travelling Song (Woodville Records, 2009), gets its inspiration from singer/songwriter Peter Gabriel's reflective and downbeat "Here Comes The Flood." Once again, Cornelius produces a beautifully controlled performance, this time on a tune that is a touch more intense than most in this collection. "Le Rendez-vous Final" swings gently, thanks especially to Scott's drumming, and yet it carries an air of sadness that is somehow at odds with this rhythm.  Pianist Asen Doykin duets with Cornelius on an understated and delicate performance of Kurt Weill's melancholic "My Ship"; slow, measured and emotive, it's a superb interpretation of this classic song. Sir George Shearing's "Conception" is more upbeat, driven by Scott's percussion and given added depth, once again, by Okazaki's deft guitar work. Cornelius' star continues to rise. Maybe Steps is his strongest outing yet, demonstrating his all-too-rare ability to combine the writing of memorable and accessible tunes with a performance that engages with, and enhances, their beauty and emotional connection. ~ Bruce Lindsay https://www.allaboutjazz.com/maybe-steps-patrick-cornelius-posi-tone-records-review-by-bruce-lindsay.php

Personnel: Patrick Cornelius: alto saxophone; Gerald Clayton: piano; Peter Slavov: bass; Kendrick Scott: drums; Mile Okazaki: guitar (6, 8); Assen Doykin: piano (9).

Maybe Steps

Tuesday, December 12, 2017

Patrick Cornelius - Infinite Blue

Bitrate: MP3@320K/s
Time: 46:46
Size: 107.1 MB
Styles: Saxophone jazz
Year: 2013
Art: Front

[5:04] 1. Regent Street
[5:51] 2. Infinite Blue
[0:53] 3. Into To Waiting
[7:09] 4. Waiting
[4:14] 5. Puzzler
[5:47] 6. Unfinished Business
[6:14] 7. In The Quiet Moments
[4:42] 8. My Green Tara
[6:49] 9. Projection

Patrick Cornelius: alto saxophone; Frank Kimbrough: piano; Michael Janisch: bass; Jeff Ballard: drums; Nick Vayenas: trombone (1, 4-6, 9);Michael Rodriguez: trumpet (2, 4, 5); John Chin: piano (9).

Veteran New York saxophonist and composer Patrick Cornelius delivers his fourth album as leader with Infinite Blue, a gem of a recording that sparkles with an A-list of players interpreting eight new originals and one cover tune in one audacious session of music. Not really an unusual feat for this three-time winner of the ASCAP Young Composer Award (2005-2007), the music on this album features a variety of hard bop elements as well as intricate tender ballads providing a fair share of moments to experience often.

The saxophonist wastes no time in defining this album as primarily his through measured solo performances beginning on the opening "Regent Street" and guiding the music with the help of Chick Corea/Brad Mehldau drummer Jeff Ballard whose pounding drums and crashing cymbal accents paint the music. Trumpeter Michael Rodriguez and renowned pianist Frank Kimbrough, just two of New York's finest musicians performing in the Cornelius sextet, take pronounced roles on the title track marking this piece infinitely solid. The reflective balladic "Waiting" is introduced by the only non-New York-based musician of the group, London-based bassist Michael Janisch who turns it over to pianist Kimbrough whose light chords turns the number into a beautiful haunting piece of music. In stark contrast, "Puzzler" unleashes a hard up beat rhythm that brings an expanded horn section with both the leader and Rodriguez sharing the space with trombonist Nick Vayenas for a quick rumble. One of the standout tunes on the recording, "Unfinished Business," has Vayenas playing middle to upper register trombone to Cornelius's crafty alto voice.

The Soft spot of the album goes to the gorgeous slow ballad "In The Quiet Moments," where the saxophonist performs a slow burn to Kimbrough's accompanying light keys and Ballard's warm brush stokes for a highlight of the album. Unlike many recordings, Cornelius caps this fantastic effort with the surging hard bop "My Green Tara" showcasing some of his best chops of the session and closes the recording with pianist John Chin's "Projection" featuring Chin in his only appearance on a sweet melody that captures one last dynamic solo from the saxophonist and the very essence of Infinite Blue, an album that has all the elements of great music: elegant compositions, world-class players and a gifted point man leading the way. ~Edward Blanco

Infinite Blue