|
LIVE CONSTRUCTIONS, VOLUME TWO
|
|
|
CD 597
£
10.00 inc VAT
|
|
Add to Shopping Basket
|
|
‘Live Constructions Volume 2’
SLAMCD 597 Barcode: 5028386711926
DANIEL CARTER, SAXOPHONES AND TRUMPET
JULIAN PRIESTER, TROMBONE
DAVID HANEY, PIANO
ADAM LANE, BASS
REGGIE SYLVESTER, DRUMS
‘Live Constructions’ is a programme of live studio performances broadcast by WKCR Radio based at Columbia University, New York; SLAMCD 589, also titled ‘Live Constructions’ features the session by Daniel Carter, Hilliard Greene and David Haney recorded November 2017. Almost a year later – October 2018 – Carter and Haney returned to the studio together with Julian Priester, Adam Lane and Reggie Sylvester, this session is preserved here on ‘Live Constructions Volume 2’
Of the earlier CD ‘Live Constructions’ Ken Waxman began his review: " Nonpareil improvisation from a trio of veteran players Live Constructions affirms that sparkling sonic adornments can be created modestly and with the mostly dulcet tones as well as briefly …". Bill Donaldson in Cadence ended his review: "the results break through comfort zones and provide the energy of free improvisation that creates memorable jazz moments."
I believe this second volume sits comfortably alongside the 2017 recording.
Also available through all digital outlets, including:
Amazon MP3: https://www.amazon.co.uk/Constructions-Reggie-Sylvester-Julian-Priester/dp/B07V9K141L
iTunes: https://music.apple.com/gb/album/live-constructions-vol-2/1473010999
Spotify: https://open.spotify.com/album/291jqVyasYcfJ7LrPzJgNi?si=_zSuLlH9Q4KRFGqu1nI3BQ
|
|
Details
Reviews
|
SLAMCD 597
CD Title
LIVE CONSTRUCTIONS, VOLUME TWO
DANIEL CARTER, SAXOPHONES AND TRUMPET
JULIAN PRIESTER, TROMBONE
REGGIE SYLVESTER, DRUMS
ADAM LANE, BASS
DAVID HANEY, PIANO
CUT 1: Construction Number 6 (12:00) Daniel Carter, tenor sax; Adam Lane, bass; Reggie Sylvester, drums; David Haney, piano.
CUT 2: Construction Number 7 (10:51) Daniel Carter, soprano sax; Adam Lane, bass; Reggie Sylvester, drums; David Haney, piano.
CUT 3: Construction Number 8 (6:18) Daniel Carter, soprano sax; Adam Lane, bass; Reggie Sylvester, drums; David Haney, piano.
CUT 4: Construction Number 9 (10:37) Julian Priester, trombone; Reggie Sylvester, drums; David Haney, piano.
CUT 5: Construction Number 10 (9:54) Julian Priester, trombone; Reggie Sylvester, drums; David Haney, piano.
CUT 6: Construction Number 11 - 12 Bars by Herbie Nichols, Roswell Music (12:02) Julian Priester, trombone; Reggie Sylvester, drums; David Haney, piano.
All tracks spontaneously composed.
Recorded August 9, 2018 and October 21, 2018 at WKCR Radio, Columbia University, New York. Recorded by Evan Caplinger.
Mixed and mastered by Dennis Carter at Falcon Studios, Portland, Oregon, USA.
DANIEL CARTER / JULIAN PRIESTER / DAVID HANEY / ADAM LANE / REGGIE SYLVESTER - Live Constructions Volume 2 (Slam 597; UK) Featuring Daniel Carter on tenor sax & trumpet, Julian Priester on trombone, David Haney on piano, Adam Lane on double bass and Reggie Sylvester on drums. This disc was recorded live for WKCR radio at Columbia University in August & October of 2018. Pacific Northwest-based pianist keeps busy running Cadence Magazine (since 2012) and recording sessions with varying personnel for the Cadence, CIMP and Slam record labels. He has put together an interesting bi-coastal line-up here featuring he & Julian Priester, both from Portland, Oregon, and three longtime members of the Downtown Scene. Mr. Haney has been recording with Julian Priester (From Sun Ra to Herbie Hancock’s Mwandishi Band & beyond) and Adam Lane on several previous sessions.
This long discs is mostly an improvised session aside from a short quote from an old song by Herbie Nichols. The opening piece begins with an infectious galloping groove which goes on for a short while eventually settling down to sombre calm with Mr. Haney plucking the strings inside the piano while Mr. Carter sends out quiet smoke signals on his sax. Although Daniel Carter usually plays many reeds at each session (alto & tenor sax, soprano, flute plus trumpet), he is only listed on tenor here. I do hear him plying soprano on the first couple of pieces. It sounds as if the quartet (without Mr. Priester) is moving in slow motion, sleeping walking ornate least dreaming together. Later the quintet starts to hit their stride as the pace picks up. "Construction Number 9" begins with a soft, unaccompanied solo trombone, slowly building through stark sections, spacious and hypnotic. Sometimes, I wish there were more going on but when I do calm down I realize that this is thoughtful, chamber-like music that is nuanced just right. - Bruce Lee Gallanter, DMG
I remember Volume 1 of Live Constructions as the album that gave me the most pleasure in 2018, in spite of its brevity. Carter’s appearances on the Free Jazz circuit are more frequent than one may imagine, but of course he is heard with many other leading, free musicians as well as with his own groups; it should be said though that he is not sufficiently recorded.
The sounds he makes are spectacular, yet always sounding so natural, never mind which instrument he has chosen. This current quintet is quite different from last year’s trio, especially perhaps with the trombone’s presence. The album illustrates his ability to successfully investigate the application to his music of various instruments, musicians, musical methodologies and techniques. Most importantly, he does not yield his personal foresight or conception in the execution.
He is also completely diffident, never letting his own cognition, emotion or pride subdue that of his musical associates – always, the music comes first.
His sound overall may seem sober, austere even, but it never fails to present that willingness to be intrepid and impudent even, while he concentrates on his efforts to perfect the matrix of the voices he is working with, rather than to overstate his individual oration.
Trombonist Julian Priester shifts effortlessly between Avant-garde, fusion and hard bop. Not surprisingly, as his debut album was issued on Riverside as long ago as 1960. His list of musicians experienced, either by playing or cooperating/collaborating with them reads like a dictionary of jazz. They may start historically with Bo Diddley and Muddy Waters but continue royally through Sun Ra, Anthony Braxton, Stanley Turrentine, Art Blakey, McCoy Tyner, Blue Mitchell, Max Roach, Booker Little, Lee Morgan, Charlie Haden, Johnny Griffin, Clifford Jordan, Herbie Hancock, Dave Holland, Freddie Hubbard, Duke Ellington and Eddie Henderson. No, that’s not all: Sam Rivers and John Coltrane. His playing has always been malleable and audacious, multifaceted and highly advanced.
This is a thoroughly enjoyable album, one which gives us another much-needed ear onto a remarkably powerful influence on the life of the Avant-garde.
Reviewed by Ken Cheetham https://www.jazzviews.net/daniel-carter-et-al--live-constructions-volume-2.html
Dopo l’incisione in trio dal vivo alla WKCR Radio presso la Columbia University di New York nel 2017, il pianista di origine canadese David Haney ha deciso di ritornare un anno dopo negli stessi studi oltre che con il fido Daniel Carter al sax tenore e soprano ed alla tromba, protagonista della prima seduta di registrazione, con Adam Lane al contrabbasso e Reggie Sylvester alla batteria per un altro concerto live, pubblicato qui. In tre brani, nelle Construction dalla nove alla undici, si aggiunge Julian Priester al trombone. Questa volta sono circa settanta minuti di musica improvvisata, dall’aspetto etereo, fin dalla Construction Number 6, permeata di uno swing sottile, grazie ai piatti del batterista, che con fare elegante dà il giusto impulso alla musica. La Construction Number 7 si apre con il possente contrabbasso di Adam Lane, poi seguito dal gruppo che sembra eseguire qualcosa di composto ed arrangiato a tavolino, invece si tratta di una improvvisazione in cui i musicisti si ritrovano a seguire un’idea spuntata sul posto. Su Construction Number 9 appare Julian Prister che apre da solo il brano, lentamente sbocciano delle idee su cui il quartetto, senza Carter, si trova ad interagire. All’interno della Construction Number 11 viene eseguita una composizione di Herbie Hancock, 12 Bars, sul brano finale riappare Carter alla tromba con sordina ed il gruppo trova ancora il ritmo giusto nonostante l’apparente mancanza di coordinazione cui supplisce solitamente lo spartito sul leggio. È un disco che funziona, ricco di bei momenti che mostrano come i jazzisti di vaglia fanno musica in qualunque occasione, basta che siano ispirati. Vittorio lo Conte http://www.musiczoom.it/?p=30714#.XTYe1B1Ki1u
After the trio live recording at WKCR Radio at Columbia University in New York in 2017, the Canadian-born pianist David Haney decided to return a year later to the same studies as well as with the trusted Daniel Carter on tenor and soprano sax and the trumpet, the protagonist of the first recording session, with Adam Lane on bass and Reggie Sylvester on drums for another live concert, published here. In three tracks, in the Construction from nine to eleven, Julian Priester is added to the trombone. This time around seventy minutes of improvised music, with an ethereal aspect, right from the Construction Number 6, permeated with a subtle swing, thanks to the drummer's cymbals, which elegantly gives the right impetus to the music. Construction Number 7 opens with the powerful double bass by Adam Lane, then followed by the group that seems to perform something composed and arranged at the table, instead it is an improvisation in which the musicians find themselves following an idea that has sprung up on the spot. On Construction Number 9, Julian Prister appears who opens the song on his own, slowly ideas blossom on which the quartet, without Carter, finds himself interacting. Inside the Construction Number 11 is a composition by Herbie Hancock, 12 Bars, Carter on the trumpet with muted reappears on the final song and the group still finds the right rhythm despite the apparent lack of coordination that usually the score on the lectern makes up for. It's a record that works, full of beautiful moments that show how the jazz players make music on any occasion, as long as they are inspired.
|
|
