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| SHORT WAY HOME -- The Bryce Rohde Trio Live at Davood's | ||
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"...Rohde ... has a way of integrating each instrument in the trio to create a single voice instead of making the piano the dominant vehicle. This makes the bass of Joe Carroll and Charlton's drums major players in the evolution of the composer's harmonic philosophy. Listen to how these three form a cohesive unit on such cuts as "Soft Sounds-Taste of Wine" without losing their individual identity.
--Dave Nathan
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| AFTERNOON SESSION - Marsalis, Charlton, Haden, Peirce and Foster | ||
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Pianist and jazz patriarch Ellis Marsalis finds new ways to stretch and alto sax player John Peirce goes to town in this hot, inspired, live session recorded in Sparks, Nevada 1968. This session's alchemical spontaneity, the real essence of hot jazz, found the real spark in Sparks!
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"John Peirce's alto sax artfully combines Coltrane with Charlie Parker...[and]...the rhythm section takes an active role, al la the John Coltrane Quartet and the Miles Davis small groups."
"The real, living art, in which the performer meets his true test, is hot jazz, which finds its best expression in the jam sessions, in which musicians from all sorts of bands join and play together without any former preparation or rehearsal. The imperative requirement of such a session is to improvise, and out of the general excitement to rise to a frenetic acme of realization." --Robert Goffin, translated by Walter Schaap and Leonard G. Feather* |
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| TURN RIGHT AT NEW SOUTH WALES - The Bryce Rohde Trio | ||
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Lucky patrons of San Francisco's upscale jazz venue Bix get a monthly treat to pianist and composer Bryce Rohde, long recognized as one of the "most influential" jazz artists Down Under. This CD is your chance to bring home Rohde's unique compositions in a refined, sophisticated performance.
Recommended by Dave Nathan at allmusic.com To Order Turn Right at New South Wales |
F E A R L E S S
I M P R O V I S A T I O N This remarkable performance is highly influenced by jazz maverick George Russell's seminal "The Lydian Chromatic Concept of Tonal Organization for Improvisation." The Lydian Concept was integral at the composition stage as well, for Stop the Bus, Short Way Home, Dumbrille Was No Greek, plus the title song, each influenced by what Bruce Cale calls, "a fearless approach to writing music." |
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* From Jazz: From the Congo to the Metropolitan, page 223
The Country Life Press, Garden City (1944), reprinted by Da Capo Press, New York (1975).
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