4 London-born bassist-composer Britz came to the States in 1991 on a full scholarship to attend the Berklee College of Music in Boston. He subsequently completed jazz studies at the New England Conservatory of Music before moving to Philadelphia in 1996, and then settled in Brooklyn in 1998. His latest release, a follow-up to his 2005 debut as a leader, Made in Brooklyn, again finds him collaborating with some of the best and brightest on New York’s modern-jazz scene. This time out Britz is accompanied by the excellent pianist George Colligan, the well-established drummer Sylvia Cuenca and two lesser-known but equally accomplished talents, trumpeter David Smith and alto saxophonist Casey Benjamin. Together they tackle Britz’s original compositions—like the gospel-tinged “Yaakology,” the dynamic 6/8 vehicle “Oceans” and the kinetic uptempo boppish romp “New York Roast”—with requisite chops, flexibility and killer instincts. They settle into Britz’s melancholy ode “Goodbye (for Dad)” with reverence and sensitivity, then delve into a real-deal second-line feel on “Lucky Friday the 13th,” which morphs back and forth between N’awlins funk and New York swing. Along the way, the leader distinguishes himself as a first-rate swinger with considerable soloistic skills, which becomes especially apparent on the down-home medium groover “Brown & Sizzle,” Britz’s tribute to his bass idol, Ray Brown. The composer also explores more sharply intelligent, modernistic fare on the angular modal romp “Scatterbug” and the buoyant 7/4 vehicle “Martha’s Song,” written for his wife. true 21 2008-06-18T17:39:31-04:00 false 18317 118 200804 true 126 2008-04-01T00:00:00-04:00

London-born bassist-composer Britz came to the States in 1991 on a full scholarship to attend the Berklee College of Music in Boston. He subsequently completed jazz studies at the New England Conservatory of Music before moving to Philadelphia in 1996, and then settled in Brooklyn in 1998. His latest release, a follow-up to his 2005 debut as a leader, Made in Brooklyn, again finds him collaborating with some of the best and brightest on New York’s modern-jazz scene. This time out Britz is accompanied by the excellent pianist George Colligan, the well-established drummer Sylvia Cuenca and two lesser-known but equally accomplished talents, trumpeter David Smith and alto saxophonist Casey Benjamin. Together they tackle Britz’s original compositions—like the gospel-tinged “Yaakology,” the dynamic 6/8 vehicle “Oceans” and the kinetic uptempo boppish romp “New York Roast”—with requisite chops, flexibility and killer instincts. They settle into Britz’s melancholy ode “Goodbye (for Dad)” with reverence and sensitivity, then delve into a real-deal second-line feel on “Lucky Friday the 13th,” which morphs back and forth between N’awlins funk and New York swing. Along the way, the leader distinguishes himself as a first-rate swinger with considerable soloistic skills, which becomes especially apparent on the down-home medium groover “Brown & Sizzle,” Britz’s tribute to his bass idol, Ray Brown. The composer also explores more sharply intelligent, modernistic fare on the angular modal romp “Scatterbug” and the buoyant 7/4 vehicle “Martha’s Song,” written for his wife.

2009-03-02T00:26:21-05:00

4 Bassist John Brown, director of jazz studies at Duke University in Durham, N.C., has assembled a crew of capable sidemen in alto saxophonist Brian Miller, trumpeter Ray Codrington, pianist Gabe Evens and the New Orleans drummer Adonis Rose in this heartfelt tribute to Art Blakey and the Jazz Messengers. Miller is a soloistic standout on spirited renditions of Duke Ellington’s “Caravan,” Dizzy Gillespie’s “A Night in Tunisia” and Chuck Mangione’s infectious, calypso-flavored “Buttercorn Lady,” written by the trumpeter when he was a member of the 1966 edition of the Messengers (which also included Keith Jarrett on piano and Reggie Workman on bass). Trumpeter Codrington takes his time and delivers an emotional reading of Gigi Gryce’s gorgeous ballad “Hello” (from the 1954 edition of the Messengers). Brown’s woody bass tones are resounding and full of soulful authority on Bobby Timmons’ gospel-tinged Messengers anthem “Moanin’” and Ray Brown’s “Buhaina, Buhaina,” a relaxed walking-bass showcase that allows for some potent expression by all the soloists. Brown also provides a formidable loping groove and a brilliant bass solo on a sprightly rendition of Horace Silver’s “The Preacher.” Elsewhere, the quintet tackles Wayne Shorter’s uptempo burner “Children of the Night,” with Miller switching from alto to tenor sax, and Quincy Jones’ jaunty midtempo blues “Lady Bob,” which is buoyed by Brown’s insistent low-end groove and earthy solo. This homage to Art is solidly swinging and full of deep feeling from start to finish. true 21 2008-06-18T17:42:11-04:00 false 18318 118 200804 true 126 2008-04-01T00:00:00-04:00

Bassist John Brown, director of jazz studies at Duke University in Durham, N.C., has assembled a crew of capable sidemen in alto saxophonist Brian Miller, trumpeter Ray Codrington, pianist Gabe Evens and the New Orleans drummer Adonis Rose in this heartfelt tribute to Art Blakey and the Jazz Messengers. Miller is a soloistic standout on spirited renditions of Duke Ellington’s “Caravan,” Dizzy Gillespie’s “A Night in Tunisia” and Chuck Mangione’s infectious, calypso-flavored “Buttercorn Lady,” written by the trumpeter when he was a member of the 1966 edition of the Messengers (which also included Keith Jarrett on piano and Reggie Workman on bass). Trumpeter Codrington takes his time and delivers an emotional reading of Gigi Gryce’s gorgeous ballad “Hello” (from the 1954 edition of the Messengers). Brown’s woody bass tones are resounding and full of soulful authority on Bobby Timmons’ gospel-tinged Messengers anthem “Moanin’” and Ray Brown’s “Buhaina, Buhaina,” a relaxed walking-bass showcase that allows for some potent expression by all the soloists. Brown also provides a formidable loping groove and a brilliant bass solo on a sprightly rendition of Horace Silver’s “The Preacher.” Elsewhere, the quintet tackles Wayne Shorter’s uptempo burner “Children of the Night,” with Miller switching from alto to tenor sax, and Quincy Jones’ jaunty midtempo blues “Lady Bob,” which is buoyed by Brown’s insistent low-end groove and earthy solo. This homage to Art is solidly swinging and full of deep feeling from start to finish.

2009-03-02T00:26:21-05:00

4 A reliably swinging, in-demand jazz bassist who has also logged his share of Brazilian and Latin gigs over the past 20 years, David Finck plays it strictly straightahead on his long overdue debut as a leader, surrounded by such stellar sidemen as vibraphonist Joe Locke, pianist Tom Ranier and veteran drummer (and former Bill Evans sideman) Joe La Barbera. They open with Ranier’s loping “I Know,” a soulful, strutting number that allows Locke to dig deep into his bluesier side on a highly expressive solo. Finck’s engaging jazz waltz “New Valley” is a breezy number right out of the Vince Guaraldi book while the quartet’s inventive 5/4 take on “Nature Boy” puts a new spin on that haunting classic ballad. Guests Jeremy Pelt on trumpet and Bob Sheppard on tenor sax join the core group on a boppish jaunt through Bevan Manson’s uptempo “Four Flags” and also on Finck’s upbeat, Brazilian-flavored “Look at You,” which is underscored by La Barbera’s brisk brushwork and the bassist’s authentic samba groove. “Ballad for a Future Day” is a beautiful showcase for Locke, who opens the melancholy piece with an unaccompanied vibes solo before passing off the minor-key melody, first to Ranier’s piano and then on to Finck’s bowed bass. Locke also registers deep feeling on a sublime rendition of “For All We Know,” which Finck anchors with rich, woody tones on top of La Barbera’s sensitive brushwork. Finck grounds a Latinized rendition of Wayne Shorter’s “Black Eyes” with an authentic tumbao pulse on bass and he demonstrates some formidable walking, a la Ray Brown, on La Barbera’s “If Not for You,” a swinging ditty cleverly based on Gershwin’s “But Not for Me.” These consummate pros end with Cedar Walton’s classic “Firm Roots,” closing this satisfying session in swinging fashion. true 21 2008-06-18T17:44:41-04:00 false 18319 118 200804 true 126 2008-04-01T00:00:00-04:00

A reliably swinging, in-demand jazz bassist who has also logged his share of Brazilian and Latin gigs over the past 20 years, David Finck plays it strictly straightahead on his long overdue debut as a leader, surrounded by such stellar sidemen as vibraphonist Joe Locke, pianist Tom Ranier and veteran drummer (and former Bill Evans sideman) Joe La Barbera. They open with Ranier’s loping “I Know,” a soulful, strutting number that allows Locke to dig deep into his bluesier side on a highly expressive solo. Finck’s engaging jazz waltz “New Valley” is a breezy number right out of the Vince Guaraldi book while the quartet’s inventive 5/4 take on “Nature Boy” puts a new spin on that haunting classic ballad. Guests Jeremy Pelt on trumpet and Bob Sheppard on tenor sax join the core group on a boppish jaunt through Bevan Manson’s uptempo “Four Flags” and also on Finck’s upbeat, Brazilian-flavored “Look at You,” which is underscored by La Barbera’s brisk brushwork and the bassist’s authentic samba groove. “Ballad for a Future Day” is a beautiful showcase for Locke, who opens the melancholy piece with an unaccompanied vibes solo before passing off the minor-key melody, first to Ranier’s piano and then on to Finck’s bowed bass. Locke also registers deep feeling on a sublime rendition of “For All We Know,” which Finck anchors with rich, woody tones on top of La Barbera’s sensitive brushwork. Finck grounds a Latinized rendition of Wayne Shorter’s “Black Eyes” with an authentic tumbao pulse on bass and he demonstrates some formidable...

2009-03-02T00:26:21-05:00

4 Since moving to New York in 1992, the Austrian upright bassist has found a certain musical niche, having recorded and gigged with such Latin-jazz veterans as Bobby Sanabria, Paquito D’Rivera and the late Ray Barretto. But he is also steeped in straightahead, following apprenticeships with Bobby Watson, James Moody and the late Maynard Ferguson. On his debut as a leader, 2003’s Common Ground (Fresh Sound/New Talent), Glawischnig showcased his considerable chops on an open-ended blowing session. This time out he emphasizes his compositional skills on such intriguing vehicles as “Line Drive” (which shifts seamlessly from 3/4 to 5/4), the beautifully evocative, chamberlike number “The Orchids” (which features Glawischnig’s flawless arco work), the gorgeous ballad “Beneath the Waves,” the uptempo modal burner “Rabbit Race” and the frantic fusion offering “Gypsy Tales,” which is brimming with demanding, angular unison lines executed with uncanny precision by an accomplished quintet. Joining Glawischnig on this ambitious outing are young drummers Antonio Sanchez, Jonathan Blake and Marcus Gilmore and such potent soloists as alto saxophonists Miguel Zenón and David Binney, pianist Luis Perdomo and guitarist Ben Monder. Special guest Chick Corea, whom Glawischnig toured with during the summer of 2006 as part of a worldwide celebration of Mozart’s 250th anniversary, appears in a piano-trio setting (with Gilmore on drums) on the affecting title track and “Oceanography,” a clever and swinging extrapolation on the jazz standard “How Deep Is the Ocean.” Glawischnig also pays tribute to his former mentor on “Barretto’s Way,” an alluring bolero which opens with more virtuoso arco work by the gifted bassist. true 21 2008-06-18T17:46:31-04:00 false 18320 118 200804 true 126 2008-04-01T00:00:00-04:00

Since moving to New York in 1992, the Austrian upright bassist has found a certain musical niche, having recorded and gigged with such Latin-jazz veterans as Bobby Sanabria, Paquito D’Rivera and the late Ray Barretto. But he is also steeped in straightahead, following apprenticeships with Bobby Watson, James Moody and the late Maynard Ferguson. On his debut as a leader, 2003’s Common Ground (Fresh Sound/New Talent), Glawischnig showcased his considerable chops on an open-ended blowing session. This time out he emphasizes his compositional skills on such intriguing vehicles as “Line Drive” (which shifts seamlessly from 3/4 to 5/4), the beautifully evocative, chamberlike number “The Orchids” (which features Glawischnig’s flawless arco work), the gorgeous ballad “Beneath the Waves,” the uptempo modal burner “Rabbit Race” and the frantic fusion offering “Gypsy Tales,” which is brimming with demanding, angular unison lines executed with uncanny precision by an accomplished quintet. Joining Glawischnig on this ambitious outing are young drummers Antonio Sanchez, Jonathan Blake and Marcus Gilmore and such potent soloists as alto saxophonists Miguel Zenón and David Binney, pianist Luis Perdomo and guitarist Ben Monder. Special guest Chick Corea, whom Glawischnig toured with during the summer of 2006 as part of a worldwide celebration of Mozart’s 250th anniversary, appears in a piano-trio setting (with Gilmore on drums) on the affecting title track and “Oceanography,” a clever and swinging extrapolation on the jazz standard “How Deep Is the Ocean.” Glawischnig also pays tribute to his former mentor on “Barretto’s Way,” an alluring bolero which opens with more virtuoso arco work by...

2009-03-02T00:26:21-05:00

4 Gress not only has one of the most resoundingly deep tones and consummate feels of any upright bassist currently playing modern jazz (which explains why he’s in such demand), he is also one of the more accomplished composers on the scene. As a follow-up to his critically acclaimed 7 Black Butterflies from 2005, Gress returns with the same core group of alto saxophonist Tim Berne, trumpeter Ralph Alessi, pianist Craig Taborn and longtime rhythm tandem partner Tom Rainey on drums. Together they demonstrate remarkable chemistry in exercising their uncanny inside-outside aesthetic on energetic long-form pieces like “Chevelle” and “Neopolitan,” both of which strike an organic balance between disciplined playing and wide-open abandon by these great improvisers. Gress’ relaxed yet commanding sense of counterpoint on the affecting “Fauxjobim” is a thing of beauty, while the brief opener “Bellwether” and the unaccompanied bass piece “Mas Relief” are perfect examples of the sheer power he conveys in each note he plays. Rainey, Gress and Taborn provide a loosely swinging undercurrent for some freewheeling conversational exchanges between Alessi and Berne on “Blackbird Backtalk,” the “jazziest” track on the collection. The closer, “True South,” is a strangely compelling dirge inspired by John Philip Sousa’s “Stars and Stripes Forever” that culminates with Gress soloing on an odd, unnamed electronic instrument. Producer David Torn adds subversive/subliminal touches throughout The Irrational Numbers, like soaking Taborn’s piano in reverb on “Fauxjobim” and “By Far” or tweaking listeners with little sonic treats that fly in and out of the mix, as on “Chevelle.” Another startlingly original outing by this extraordinary working band. true 21 2008-06-18T17:47:58-04:00 false 18321 118 200804 true 126 2008-04-01T00:00:00-04:00

Gress not only has one of the most resoundingly deep tones and consummate feels of any upright bassist currently playing modern jazz (which explains why he’s in such demand), he is also one of the more accomplished composers on the scene. As a follow-up to his critically acclaimed 7 Black Butterflies from 2005, Gress returns with the same core group of alto saxophonist Tim Berne, trumpeter Ralph Alessi, pianist Craig Taborn and longtime rhythm tandem partner Tom Rainey on drums. Together they demonstrate remarkable chemistry in exercising their uncanny inside-outside aesthetic on energetic long-form pieces like “Chevelle” and “Neopolitan,” both of which strike an organic balance between disciplined playing and wide-open abandon by these great improvisers. Gress’ relaxed yet commanding sense of counterpoint on the affecting “Fauxjobim” is a thing of beauty, while the brief opener “Bellwether” and the unaccompanied bass piece “Mas Relief” are perfect examples of the sheer power he conveys in each note he plays. Rainey, Gress and Taborn provide a loosely swinging undercurrent for some freewheeling conversational exchanges between Alessi and Berne on “Blackbird Backtalk,” the “jazziest” track on the collection. The closer, “True South,” is a strangely compelling dirge inspired by John Philip Sousa’s “Stars and Stripes Forever” that culminates with Gress soloing on an odd, unnamed electronic instrument. Producer David Torn adds subversive/subliminal touches throughout The Irrational Numbers, like soaking Taborn’s piano in reverb on “Fauxjobim” and “By Far” or tweaking listeners with little sonic treats that fly in and out of the mix, as on “Chevelle.” Another startlingly original...

2009-03-02T00:26:21-05:00

4 A bona fide Jaco scholar (he transcribed a collection of classic Pastorius solos for the instructional book A Portrait of Jaco, published in 2002 by Hal Leonard), Malone is currently a member of the adventurous prog-rock group Gordian Knot. He originally recorded this eclectic solo debut back in 1996 on the fledgling (and now defunct) label Audioimage Records. It subsequently became a cult classic among bass aficionados, prompting its reissue 11 years later. The Pastorius influence is clear on pieces like “Controversy,” “Splinter,” “Hand Full of Earth” and the powerful Weather Report-ish number “The Big Idea,” on which Malone’s nimble fretless bass work is a commanding presence in the mix. Other pieces like “Fisher’s Gambit” reveal a distinct King Crimson influence while the ambient piece “At Taliesin,” a collaboration with one-time David Bowie guitarist Reeves Gabrels, strikes more original territory. He plays inventive counterpoint lines through the changes on a cover of “Giant Steps” and tackles Pat Metheny’s vibrant “Unquity Road” with conviction, playing Jaco to guitarist Adam Levy’s Metheny and drummer Sean Reinert’s Bob Moses on a stirring recreation of that signature tune from Metheny’s 1976 debut on ECM, Bright Size Life. For a change of pace, Malone applies some stunning two-handed tapping technique on the Stick in a letter-perfect reading of a demanding J.S. Bach piece, sounding remarkably like a harpsichord player on “Sinfonia” (from the “15 Three-part Inventions”). true 21 2008-06-18T17:49:31-04:00 false 18323 118 200804 true 126 2008-04-01T00:00:00-04:00

A bona fide Jaco scholar (he transcribed a collection of classic Pastorius solos for the instructional book A Portrait of Jaco, published in 2002 by Hal Leonard), Malone is currently a member of the adventurous prog-rock group Gordian Knot. He originally recorded this eclectic solo debut back in 1996 on the fledgling (and now defunct) label Audioimage Records. It subsequently became a cult classic among bass aficionados, prompting its reissue 11 years later. The Pastorius influence is clear on pieces like “Controversy,” “Splinter,” “Hand Full of Earth” and the powerful Weather Report-ish number “The Big Idea,” on which Malone’s nimble fretless bass work is a commanding presence in the mix. Other pieces like “Fisher’s Gambit” reveal a distinct King Crimson influence while the ambient piece “At Taliesin,” a collaboration with one-time David Bowie guitarist Reeves Gabrels, strikes more original territory. He plays inventive counterpoint lines through the changes on a cover of “Giant Steps” and tackles Pat Metheny’s vibrant “Unquity Road” with conviction, playing Jaco to guitarist Adam Levy’s Metheny and drummer Sean Reinert’s Bob Moses on a stirring recreation of that signature tune from Metheny’s 1976 debut on ECM, Bright Size Life. For a change of pace, Malone applies some stunning two-handed tapping technique on the Stick in a letter-perfect reading of a demanding J.S. Bach piece, sounding remarkably like a harpsichord player on “Sinfonia” (from the “15 Three-part Inventions”).

2009-03-02T00:26:21-05:00

4 The king of slap bass applies his golden thumb and Grammy-winning-producer’s sensibility to a collection of originals and pop covers on his seventh outing as a leader. While showcasing stellar vocal turns by pop singers Corinne Bailey Rae (on Deniece Williams’ 1976 soul classic “Free”), Lalah Hathaway (on the sexily grooving “Ooh”) and Keb’ Mo’ (their earthy, co-penned “Milky Way”), the bassist-producer also unleashes his inimitable chops on hard-hitting instrumentals like the Indian-flavored “Blast” (with Marcus himself supplying the sitar parts) and definitive low-end vehicles like “Funk Joint,” “Pluck” and “Strum.” He also turns in a moving rendition of the Broadway tune and oft-covered jazz standard “When I Fall in Love,” on which his mysterious-sounding bass clarinet initially carries the poignant melody before he breaks loose with some potent Jaco-esque fretless bass work. And he even delves into the world of poetry slams on “’Cause I Want You,” featuring spoken-word artist Shihan Van Clief. Elsewhere, Miller and his crew—drummer Poogie Bell, keyboardist Bobby Sparks, saxophonist Keith Anderson and trumpeter Patches Stewart—turn in savvy covers of Miles Davis’ catchy ’80s anthem “Jean Pierre” (which the bassist originally played alongside Miles back in the day), Stevie Wonder’s “Higher Ground” and Tower of Power’s “What Is Hip?,” the latter featuring David Sanborn on alto sax and Chester Thompson on organ. The outstanding French harmonica player Gregoire Maret, a member of Miller’s current touring band and former member of the Pat Metheny Group, is prominently featured on “When I Fall in Love,” “Strum” and “Jean Pierre.” Which just goes to show that Marcus has a keen eye for talent in addition to being an accomplished producer and remarkable bassist. true 21 2008-06-18T17:51:17-04:00 false 18324 118 200804 true 126 2008-04-01T00:00:00-04:00

The king of slap bass applies his golden thumb and Grammy-winning-producer’s sensibility to a collection of originals and pop covers on his seventh outing as a leader. While showcasing stellar vocal turns by pop singers Corinne Bailey Rae (on Deniece Williams’ 1976 soul classic “Free”), Lalah Hathaway (on the sexily grooving “Ooh”) and Keb’ Mo’ (their earthy, co-penned “Milky Way”), the bassist-producer also unleashes his inimitable chops on hard-hitting instrumentals like the Indian-flavored “Blast” (with Marcus himself supplying the sitar parts) and definitive low-end vehicles like “Funk Joint,” “Pluck” and “Strum.” He also turns in a moving rendition of the Broadway tune and oft-covered jazz standard “When I Fall in Love,” on which his mysterious-sounding bass clarinet initially carries the poignant melody before he breaks loose with some potent Jaco-esque fretless bass work. And he even delves into the world of poetry slams on “’Cause I Want You,” featuring spoken-word artist Shihan Van Clief. Elsewhere, Miller and his crew—drummer Poogie Bell, keyboardist Bobby Sparks, saxophonist Keith Anderson and trumpeter Patches Stewart—turn in savvy covers of Miles Davis’ catchy ’80s anthem “Jean Pierre” (which the bassist originally played alongside Miles back in the day), Stevie Wonder’s “Higher Ground” and Tower of Power’s “What Is Hip?,” the latter featuring David Sanborn on alto sax and Chester Thompson on organ. The outstanding French harmonica player Gregoire Maret, a member of Miller’s current touring band and former member of the Pat Metheny Group, is prominently featured on “When I Fall in Love,” “Strum” and “Jean Pierre.” Which just goes to...

2009-03-02T00:26:21-05:00

4 A longstanding member of the Flecktones and recent member of Chick Corea’s Elektric Band, Wooten is among a handful of elite electric bassists today who are developing a new post-Jaco vocabulary on the instrument. On the genre-bending Palmystery, Wooten showcases his extraordinary range and unparalleled facility on a collection of originals that run the gamut from jazz to fusion, funk, gospel and world music. The powerhouse “2 Timers,” featuring former fellow Flecktone Howard Levy on harmonica, is a tricky workout wherein Wooten’s crew deftly juggles 3/4 and 4/4 simultaneously while “Cambo” is a Middle Eastern-flavored jam with his brothers Regi on guitar and Joseph on keyboards, along with Amir Ali’s exotic vocals and darbouka. Wooten’s spoken word recitation on “I Saw God” is a philosophical Rubik’s Cube set to an upbeat African highlife groove colored by Wooten’s nimble, melodic basslines and Richard Bona’s mellifluous vocals. “The Lesson” is a show-stopping duet with brother and fellow Flecktone Roy “Future Man” Wooten on cajon and handclaps in which Victor simultaneously plays chords, arpeggios and melody lines while also strumming aggressively in a flamenco manner. On “Left, Right & Center,” Victor alternately funks it up and burns a fuzoid blue streak alongside guitar killer Mike Stern, spurred on by a triumvirate of drumming dynamos in Will Kennedy, JD Blair and Dennis Chambers. Other highlights include the Corea-inspired “Flex,” with its avalanche of challenging stop-time unison lines, Wooten’s contemporary take on Horace Silver’s “Song for My Father” featuring Karl Denson on tenor sax, his high-spirited collaboration with the Florida-based gospel group the Lee Boys on “Miss U,” in which Wooten exchanges slide bass licks with pedal-steel guitarist Roosevelt Collier, and his collaboration with Dobro ace Keb’ Mo’ on the mellow closer “Us 2.” Few other bona fide chopsmeisters reveal as much sheer musicality as Wooten does on his Heads Up debut. true 21 2008-06-18T17:53:44-04:00 false 18326 118 200804 true 126 2008-04-01T00:00:00-04:00

A longstanding member of the Flecktones and recent member of Chick Corea’s Elektric Band, Wooten is among a handful of elite electric bassists today who are developing a new post-Jaco vocabulary on the instrument. On the genre-bending Palmystery, Wooten showcases his extraordinary range and unparalleled facility on a collection of originals that run the gamut from jazz to fusion, funk, gospel and world music. The powerhouse “2 Timers,” featuring former fellow Flecktone Howard Levy on harmonica, is a tricky workout wherein Wooten’s crew deftly juggles 3/4 and 4/4 simultaneously while “Cambo” is a Middle Eastern-flavored jam with his brothers Regi on guitar and Joseph on keyboards, along with Amir Ali’s exotic vocals and darbouka. Wooten’s spoken word recitation on “I Saw God” is a philosophical Rubik’s Cube set to an upbeat African highlife groove colored by Wooten’s nimble, melodic basslines and Richard Bona’s mellifluous vocals. “The Lesson” is a show-stopping duet with brother and fellow Flecktone Roy “Future Man” Wooten on cajon and handclaps in which Victor simultaneously plays chords, arpeggios and melody lines while also strumming aggressively in a flamenco manner. On “Left, Right & Center,” Victor alternately funks it up and burns a fuzoid blue streak alongside guitar killer Mike Stern, spurred on by a triumvirate of drumming dynamos in Will Kennedy, JD Blair and Dennis Chambers. Other highlights include the Corea-inspired “Flex,” with its avalanche of challenging stop-time unison lines, Wooten’s contemporary take on Horace Silver’s “Song for My Father” featuring Karl Denson on tenor sax, his high-spirited collaboration with the Florida-based gospel...

2009-03-02T00:26:21-05:00

4 The Turkish-born electric bassist-composer has been freelancing around New York since arriving in town in December 2000. For his debut as a leader he is joined by some of his colleagues on the alternative-jazz scene, including saxophonists Michael McGinnis, Nick Kadajski and David Binney, pianist Jon Davis and Turkish drummer Volkan Öktem. Yilmaz’s music is busy and intelligent in a post-Steve Coleman sense, involving intricate, twisting harmonies on the frontline between soprano and alto saxophone with the bassist holding down the fort with minimalist, grooving ostinatos. This formula, which allows for considerable stretching from the soloists, plays out nicely on an adventurous piece like “KuKe.” Yilmaz incorporates some of his Turkish folk roots on the tricky “XX,” which shifts seamlessly from 6/8 to 7/8 and also features the bassist stretching out on a virtuosic Jaco-ish solo against Matthias Bublath’s Fender Rhodes comping and Oktem’s agile drumming. The composer employs dissonance, wordless vocals and a mysterious Middle Eastern vibe to good effect on the rubato title track, which also features expressive, gale-force blowing from alto saxophonist Binney and probing clarinet work from McGinnis. “Junk Mail” is a bit of in-the-pocket funk-jazz powered by Andy Sanesi’s solid backbeats and Yilmaz’s slap basslines and featuring some urgent alto blowing from Binney. On the edgy “Oddity,” the bassist expertly juggles odd meters while grooving heavily underneath, and he reveals a lyrical side on his gentle chordal showcase “Ninni” and also on the affecting ballad “Spring Breeze.” And the evocative closer, “Landscapes,” finds Yilmaz overdubbing multiple bass tracks and dealing with experimental looping effects, culminating this highly rewarding debut in creative fashion. true 21 2008-06-18T17:55:52-04:00 false 18327 118 200804 true 126 2008-04-01T00:00:00-04:00

The Turkish-born electric bassist-composer has been freelancing around New York since arriving in town in December 2000. For his debut as a leader he is joined by some of his colleagues on the alternative-jazz scene, including saxophonists Michael McGinnis, Nick Kadajski and David Binney, pianist Jon Davis and Turkish drummer Volkan Öktem. Yilmaz’s music is busy and intelligent in a post-Steve Coleman sense, involving intricate, twisting harmonies on the frontline between soprano and alto saxophone with the bassist holding down the fort with minimalist, grooving ostinatos. This formula, which allows for considerable stretching from the soloists, plays out nicely on an adventurous piece like “KuKe.” Yilmaz incorporates some of his Turkish folk roots on the tricky “XX,” which shifts seamlessly from 6/8 to 7/8 and also features the bassist stretching out on a virtuosic Jaco-ish solo against Matthias Bublath’s Fender Rhodes comping and Oktem’s agile drumming. The composer employs dissonance, wordless vocals and a mysterious Middle Eastern vibe to good effect on the rubato title track, which also features expressive, gale-force blowing from alto saxophonist Binney and probing clarinet work from McGinnis. “Junk Mail” is a bit of in-the-pocket funk-jazz powered by Andy Sanesi’s solid backbeats and Yilmaz’s slap basslines and featuring some urgent alto blowing from Binney. On the edgy “Oddity,” the bassist expertly juggles odd meters while grooving heavily underneath, and he reveals a lyrical side on his gentle chordal showcase “Ninni” and also on the affecting ballad “Spring Breeze.” And the evocative closer, “Landscapes,” finds Yilmaz overdubbing multiple bass tracks and dealing with...

2009-03-02T00:26:21-05:00