![]() ![]() Kaleidoscope‘s first track begins with a solo trumpet chorus, a kind of gentle fanfare in which Wilson states the melody. The other members are violinist Charles Burnham and guitarist John Schott. Her sextet has an unusual instrumentation, but with a rhythm section of Myra Melford, piano, Jerome Harris on bass, and Matt Wilson on drums, it couldn’t be better. I wonder if puppet show music might also be an influence. She explains that her music is related to “avant pop, Afro-Latin grooves and indie rock” as well as to post-bop jazz. Her songs, which she sings simply and clearly with only a hint of a vibrato, are unrelievedly optimistic. ![]() She’s given to gorgeous long tones on her open horn her compositions are sometimes sweetly repetitive, in a folksy way, Her music is warm, a little funny at times, and very well played in an unassuming manner. On her new album, Kaleidoscope, Wilson dedicates “The Hit” to John McNeil and the Afro-Latin “Go” to Laurie Frink, but I don’t hear any exorbitant athleticism in her trumpet playing. At the same time, she was studying with trumpeters like John McNeil and Laurie Frink.įrink and McNeil co-authored a trumpet method book entitled Flexus: Trumpet Calisthenics for the Modern Improviser. Wilson became the music director of Lincoln Center’s annual puppet program. In 1993, she moved to New York City to concentrate on music, but her puppetry background followed her. Eventually, she wrote and conducted music for their shows, and that rekindled performing on the trumpet. ![]() She met a member of Vermont’s venerable Bread and Puppet Theater and crossed the continent to work for one of the company’s shows, which often feature giant puppets. According to her website, Wilson was an anthropology major at Berkeley who was interested in doing theater - not so much in playing the trumpet. Sarah Wilson, Kaleidoscope (Brass Tonic Records)īefore trumpeter, singer ,and composer Sarah Wilson was a jazz musician she was a puppeteer. Kaleidoscope is a wonderful transitional recording that will hopefully lead to even more maturity and risk-taking from one of the most soulful pianists to emerge in the past two decades.On this disc, trumpeter, singer, and composer Sarah Wilson serves up music that is warm, a little funny at times, and very well played in an unassuming manner. Other noteworthy compositions include the pensive duet with Carter on “Patience,” and the beautifully eerie “Soft Center.” Less overt, yet equally rewarding is the charming “My Girl Bill,” which features Green in a trio setting with Malone and Carter, resulting in a harmonically rich and festive display of group interaction. Recalling those defining transitional moments of the ’60s Blue Note artists, Wayne Shorter and Herbie Hancock, Kaleidoscope features Green aggressively unfurling through a labyrinth of jagged passages that are forcefully propelled by ace drummer Lewis Nash while saxophonist Hart darts in and out and bassist Ron Carter grounds all the improvisational mayhem with Middle-Eastern textures. The forceful title track, which shifts both in tempos and moods, is perhaps Green at his most perilous. With the addition of saxophonists Antonio Hart and Stanley Turrentine and guitarist Russell Malone, Green delves into new settings, which at times proves to be some of his most vigorous playing in recent years. Kaleidoscope does document the pianist broadening his compositional sensibilities regarding tonalities, rhythmic variations, and even heightened awareness of group interaction and improvisational freedom, resulting in his most refreshing and challenging recording to date. Green’s knack for infectious blues-inflected compositions and joyous swing is still intact. Kaleidoscope, which marks the eighth recording of Benny Green as a leader, is not a quantum leap into the throes of the avant garde that the Ornette-ish title may suggest. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |