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Sax Shed reviews Dave Juarez “Round Red Light”…

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Dave Juarez – Round Red Light Print E-mail
Barcelona native Dave Juarez has released Round Red Light on Posi-Tone Records. Guitarist Juarez features extraordinary tenor saxophonist Seamus Blake, prodigious John Escreet on piano, Lauren Falls on Bass and Bastian Weinhold on drums.

In this day and age we am seeing far more EPKs sent out to reviewers and promoters rather than the traditional “hard copy” cd promo packages. The EPK (Electronic Press Kit) is an ingenious bi-product of our “I need it yesterday” society. On more than one occasion I have found myself beginning to review the contents of a recording only to be duped by my iTunes playlist. Today, I was listening to the opening cut of Round Red Light, completely enjoying Juarez’s group and particularly Seamus Blake’s playing. The second cut sounded markedly different and seemed a cover of Dexter Gordon’s Cheesecake. Having a keen sense of the obvious, I quickly realized this WAS Dexter on my shuffle play, not the intended second cut. Unfortunately, this continued to happen after every cut on Round Red Light. Seems it’s a sign of the times and time to change my preferences on iTunes.

Hard copies and EPKs not withstanding, the opening track Montpellier View maintains an American folk quality in the melodic introduction. This is quick to change as Seamus Blake and his identifiable tenor sound begin to solo. Seamus plays in rhythmic bursts and occasionally into his seemingly effortless altissimo. Guitarist Juarez solos in a generous second position before the group states the head one last time.

Round Red Light embarks on its musical journey with a lovely solo guitar intro by bandleader Dave Juarez. Blake takes the melody in unison with Juarez on guitar. Juarez’ guitar melody is like a spice, only joining the tenor for flavor here and there in between chord structures. Blake’s tone is full and clear, neither bright nor dark. The vibe of this tune reminds me of Coltrane’s Naima or perhaps Central Park West. It is quite appealing.

Lonely Brooklyn is an up-tempo yet somehow almost sad Latin tune initially featuring pianist John Escreet. It’s difficult to hear a tune in this setting, featuring piano and not make comparisons to Chick Corea. Any comparison that can be made to Chick’s groups and their various incarnations is purely deserved flattery. When Seamus Blake begins to solo the group is clearly headed in a different direction. Again the melody features unisons between guitar, tenor and also piano.

The soft and pensive The Echo of Your Smile is a likeable melody played in unison by Blake and Juarez. This time bassist Lauren Falls solos first, followed by a bit of musical meandering. The ambiguity that follows the bass solo gradually leads the listener into the guitar solo. The understated guitar solo almost leaves more room for the interplay from Falls, Escreet and Bastian Weinhold on drums. Seamus and Juarez bring us back with the unison melody amidst Falls soloing on bass and Escreet cascading downward on the ivory keys. Somehow it all seems to work quite well.

Belleza Anónima begins with Seamus Blake in the upper register of the tenor sans vibrato. The vibe here is a bit reminiscent of the old ECM recordings featuring Jan Garbarek. Whether by coincidence or design it is a very desirable sound and the tune a great vehicle for Blake’s playing in this style. At about 3:30 into Belleza Anónima Seamus definitively displays why he is one of the premier tenor saxophonists of today. The ensemble finishes big – or seemingly so, with a huge cadence and no resolution. Way to leave us hanging guys!

The upbeat and swinging Serotonina wonderfully gives the group a chance to show their chops and stretch out. Juarez solos first, followed by a complex and musical escapade from Escreet on piano. Tenor bass and drums follow as Seamus Blake begins his own excursion, eventually joined by the entire ensemble. By the title, one has to wonder if there is a mentally unbalanced girl out there named “Nina.” There is however, nothing unstable about this groups playing.

Among the final compositions is the ballad La Noche Oscura Del Alma, and Luna De Barcelona, which highlights an angry yet well-done solo from Seamus Blake, punctuated by Weinhold’s cymbals.

The final cut RNP seems another ballad beginning with the duo of Dave Juarez on guitar and Seamus Blake on tenor. It quickly and deceptively turns into a frantic 6/8 (or is it 12/8?) groove which enables the group to collectively interact and experiment as not heard previously on Round Red Light.

Dave Juarez’s Round Red Light is an easy listen for any lovers of jazz and saxophone. Seamus Blake is among the top tenor saxophonists of modern day. He continuously allows himself to be surrounded by only the best jazz musicians such as Juarez, Escreet, Falls and Weinhold.

You can get your own copy of Round Red Light starting on April 19, 2011. Visit Posi-Tone Records for more info.

 

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Urban Flux chimes in about Dave Juarez “Round Red Light”….

theurbanflux.wordpress.com

Dave Juarez -][- ROUND RED LIGHT – [Posi-Tone Records, 2011]

It’s all systems go as Barcelona native Dave Juarez takes us along a new Jazz tangent on his breathtaking debut release “Round Red Light.” This exciting musical program covers a wide variety of avenues as guitarist Juarez’s brilliant original compositions are presented by an amazing group of players, including the award winning saxophonist Seamus Blake, celebrated prodigy pianist John Escreet, bassist Lauren Falls, and drummer Bastian Weinhold. “Round Red Light” is definitely straight ahead and features some spectacular solo performances, but more importantly Juarez’s compositions are indicative of a more modern jazz sensibility.

Critical listeners will enjoy the remarkable program of original compositions and should agree that “Round Red Light” announces guitarist Dave Juarez as someone new to keep an eye on for many years to come.

 

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Take Five with John Escreet from allaboutjazz.com

escreet-consequencesallaboutjazz.com

Meet John Escreet:
Since moving to New York in 2006, John Escreet has had a powerful impact, and is emerging as one of the most creative and original pianists on the music scene there. He is highly revered amongst his peers for his creativity, openness and for his own original music, which draws inspiration from many different sources, and encompasses them all and much more. Escreet keeps himself busy by touring regularly across the United States, Canada, Europe and Asia. When not on the road, he resides in New York City, working on and performing his own original music, constantly challenging himself and searching for something new and original. In the summer of 2008 he graduated from the Master’s Program at Manhattan School of Music, where he studied piano with Kenny Barron and Jason Moran.

He leads his own group The John Escreet Project, which is described by The New York Times as “a superb band,” and which features some of the most exciting and forward-thinking improvising musical talents on the New York jazz scene—David Binney (alto saxophone), Ambrose Akinmusire (trumpet), Matt Brewer (double-bass) and Tyshawn Sorey (drums). John’s highly anticipated debut album with this group, Consequences, was released in September 2008 on the Posi-Tone label, and quickly received widespread critical acclaim, including being voted “Best debut of 2008” by All About Jazz New York. It is also described by All About Jazz as “a scintillating work of modern progressive jazz,” and by The New York Times as “a highly accomplished debut.”

John has worked frequently in David Binney’s regular group in NYC, and was also part of the world premier performance of the saxophonist’s new Big Band at The Jazz Gallery. In June 2007 John played a weekend engagement at Smalls Jazz Club in New York with his own group that featured Ari Hoenig (drums) and Adam Rogers (guitar).

John is also a member of a collective called The Story, which features some of the most exciting and creative young musicians in NYC—Lars Dietrich (alto saxophone), Samir Zarif (tenor saxophone), Zack Lober (double-bass) and Greg Ritchie (drums). Their debut album is released March 2009. John is also a member of The TransAtlantic Collective, which is a new contemporary jazz ensemble, whose members and collaborators are some of the top emerging artists from New York City and London.

John also occasionally leads a trio, which features bassist Orlando LeFleming, and drummer Rodney Green. Since being in NYC, John has also had the opportunity to perform with many other great musicians, including Wayne Krantz, Chris Potter, Seamus Blake, Will Vinson, Logan Richardson, Ben van Gelder, Marcus Gilmore, Dan Weiss and many more.

As well as performing at most of New York City’s major jazz venues, John has performed at important international jazz venues such as the Blue Note (Milan), Bimhuis (Amsterdam), Ronnie Scott’s (London), Upstairs (Montreal), and has also performed at major concert halls such as the Royal Albert Hall, the Purcell Room and the CBSO Centre. John is also active in jazz education, and has given clinics and workshops at institutions such as the Royal Academy of Music (London), Birmingham Conservatoire (Birmingham UK), McGill University (Montreal), Humber College (Toronto) and Loyola University (New Orleans).

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John Kelman’s AAJ review for our David Binney/Alan Ferber CD “In The Paint”……

InThePaint_final_coverwww.allaboutjazz.com

By John Kelman

With an influence felt, perhaps, as much or more in the work of others than in his own record sales, alto saxophonist David Binney rarely co-leads groups, but his longstanding collaboration with pianist Edward Simon has been fruitful in more ways than one. Sharing compositional and conceptual duties frees him to focus more on his playing, and that’s always a good thing, as Binney’s innovative writing has sometimes overshadowed the fact that he’s also a damn fine performer. Co-leading brings even greater breadth to the table, making In the Paint—a first-time shared leadership with trombonist Alan Ferber—another inspired pairing.

Nearly 15 years Binney’s younger, Ferber has been increasingly in the public eye on guitarist Charlie Hunter’s succinct Gentlemen, I Neglected to Inform You You Will Not Be Getting Paid (Spire, 2010), bassist Todd Sickafoose’s remarkable Tiny Resistors (Cryptogramophone, 2008) and percussionist/composer John Hollenbeck’s equally outstanding Eternal Interlude (Sunnyside, 2009). He also guested on Binney’s last album with Simon, Océanos (Criss Cross, 2007), but with In the Paint his voice is more definitive—splitting compositional duties with Binney nearly down the middle, alongside an uncovered gem and three freely improvised alto/trombone duets that demonstrate the leaders’ shared propensity for pulling surprising form from the ether.

Despite being instantly recognizable, Binney’s writing remains fresh and unpredictable. With a septet also featuring the twin-chordal attack of pianist John Escreet and vibraphonist Peter Schlamb, and a rhythm section powered by bassist Thomas Morgan and drummer Gerald Cleaver, the opening “Growin’ Up” combines mixed meters and unhurried motivic development, built around unison lines that give way to knotty counterpoint, creating a propulsive, mid-tempo context for Binney’s needle-threading solo. Ferber’s title track is equally intricate, a syncopated bass line doubled by Escreet underpinning warm voicings and an equally unhurried melody that sets up an exhilarating alto solo that reaches comfortably into the horn’s upper register before Ferber takes over, his burnished tone possessing a hint of grit as he lithely winds his way through the changes.

Cleaver and Morgan swing with gentle authority on Binney’s “Everybody’s Wonderland,” shifting seamlessly between 5/8 and 6/8, while Escreet takes a lengthy solo that confirms his status as another young player to watch. Schlamb, another up-and-comer, delivers an ethereal solo, filled with cascading lines, on Binney’s “Paris,” where darker colors support its serpentine melody. Unencumbered by preconception, Binney and Ferber engage on three spontaneous miniatures: the vivacious “Interlude I”; sparer “Interlude II”; and “Interlude III,” where the two orbit around each other, occasionally intersecting. “Lautir”—by the perennially overlooked woodwind multi-instrumentalist Ken McIntyre, best-known for his work with Eric Dolphy and Charlie Haden’s Liberation Music Orchestra—becomes a brief feature for Cleaver.

Binney and Ferber’s shared appreciation for complex yet eminently accessible writing—performed by an ensemble rich in texture and a simmering rather than steaming approach—makes In the Paint a captivating listen. A strong addition to Binney’s discography, it’s also clear notice that Ferber is an artist to watch beyond his inestimable appearances as a sideman.

Track listing: Growin’ Up; In the Paint; Everybody’s Wonderland; Interlude I; Paris; Edinburgh; Icecave; Interlude II; La Taqueria; Magnolia; Lautir; Interlude III; Our Inventions.

Personnel: David Binney: alto saxophone; Alan Ferber: trombone; John Escreet: piano; Peter Schlamb: vibes; Thomas Morgan: bass; Gerald Cleaver: drums.

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An All About Jazz piece about saxophonist David Binney that also contains a review of his and Trombonist Alan Ferber’s Posi-Tone CD “In the Paint” …

InThePaint_final_coverwww.allaboutjazz.com

David Binney: In The Paint; Ray’s Way & Third Occasion

by Russ Musto

While saxophonist David Binney has been increasingly recognized for his substantial musical talents, the greater part of the praise he has received has focused on his considerable capabilities as a composer, often to the point of overshadowing his skills as a rhythmically agile musician with a rich distinctive tone and extraordinary imagination. On these three very varied dates, the full breadth of Binney’s abilities come to light in a manner that is bound to call even more attention to his wide-ranging artistry.

Binney teams up with trombonist Alan Ferber (who previously appeared with the saxophonist on his critically-acclaimed Oceanos CD) for In The Paint, a co-led outing on which the two hornmen split the writing chores for a sextet of vibraphonist Peter Schlamb and the exceptional rhythm section of John Escreet, Thomas Morgan and Gerald Cleaver. While adhering to traditional song form structures and jazz rhythms, the date is far from a blowing session (due to its extremely well-conceived writing), although it does exhibit much of the straight-ahead improvisational excitement of such events. Binney’s alto is darker, grittier and more propulsive here—at times intimating the muscular authority of Gary Bartz—and he and Ferber are fine foils, complementing each other with alternating staccato and legato phrasing. The pair’s melodically engaging composing styles are suited well to each other’s personalities and three improvised duets in the AACM mode illustrate an uncannily intuitive simpatico that hopefully foretells future collaborations.

Ray Levier’s Ray’s Way features Binney as a sideman on four tracks of the journeyman drummer’s debut date as a leader, teamed with the alternating guitars of John Abercrombie and Mike Stern for a pair of pieces each. The former is on fellow participant vibraphonist Joe Locke’s propulsive soulful title track (driven by Francois Moutin’s big-toned bass) and the leader’s beautiful ballad “Song For Nury” while the latter figures prominently on his own energized compositions “You Never Know” and “Bait Tone Blues”. Binney blows some spirited sax that transports listeners to the West Village’s 55Bar where he and Stern have regularly held forth for years and Levier occasionally leads his group these days.

Third Occasion is Binney’s latest self-produced album as a leader for his own Mythology label and easily one of his finest efforts to date. The disc features, along with regular collaborators pianist Craig Taborn, bassist Scott Colley and drummer Brian Blade, a brass quartet—a rare if not heretofore unprecedented feature for a jazz date. This facet of the disc will undoubtedly call even more attention to the leader’s compositional expertise, built upon his gifted melodicism, harmonic sophistication and mastery of counterpoint. The double trumpet/trombone ensemble of Ambrose Akinmusire, Brad King, Corey King and Andy Hunter that bookends the date’s 13 pieces provide a warm harmonic milieu over which the soloists improvise and execute the leader’s lyrical melodies, giving an air of classicism to the compositions; these have an expansively quiet intensity that recalls early Wayne Shorter and Andrew Hill. Taborn, Colley and Blade each contribute their very individual voices to great effect, but it is Binney’s inimitable sound that defines the overall tenor of the music, clearly identifying him as an artist with a unique vision.

Tracks and Personnel

In The Paint

Tracks: Growin’ Up; In The Paint; Everybody’s Wonderland; Interlude I; Paris; Edinburgh; Ice Cave; Interlude II; La Taqueria; Magnolia; Lautir; Interlude III; Our Inventions.

Personnel: David Binney: alto sax; Alan Ferber: trombone; Thomas Morgan: bass; Gerald Cleaver: drums; Peter Schlamb: vibes.

Ray’s Way

Tracks: Ray’s Way; Manhatta; You Never Know; Song for Nury; Blues in the Closet; Bait Tone Blues; Ralph’s Piano Waltz; Echoing; Wing and a Prayer.

Personnel: David Binney: saxophone (1, 3 4, 6); Federico Turreni: soprano sax (8); John Abercrombie: guitar: 1, 2, 4, 7, 8); Mike Stern: guitar (3, 5, 6, 9); Joe Locke: vibes (1, 2, 4, 7, 8); Francois Moutin: bass (1-4, 6-8); Ned Mann: bass(5, 9); Ray Levier: drums.

Third Occasion

Tracks: Introducao; Third Occasion; This Naked Sunday; Squares and Palaces; Solo; Here is All The Love I Have; Explaining What’s Hidden; Blood of Cities; End.

Personnel: David Binney: alto saxophone; Craig Taborn: piano; Scott Colley: acoustic bass; Brian Blade: drums; Ambrose Akinmusire: trumpet; Brad Mason: trumpet, flugelhorn; Corey King: trombone; Andy Hunter: trombone.

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All About Jazz review of John Escreet CD “Consequences”…


www.allaboutjazz.com
Consequences
John Escreet | Posi-Tone Records (2008)

By Elliott Simon

It is uplifting when a release reveals that there is still compositional fire in the heads, hearts and instruments of the children of freedom and grandchildren of bop. British pianist John Escreet is the latest very pleasant surprise from this generation of 20-somethings—one who not only has technical ability but also compositional inventiveness and stylistic relevance. Joining him on an intense session are kindred players that he has hooked up with in the two short years he has been in New York. The Consequences of all this are magnificently displayed on this recent offering.

While Escreet has a clear understanding of bop and free, he also brings with him a gritty funkiness that includes judicious use of the Rhodes. Equally funky kudos though should go to a killer horn section of altoist David Binney and trumpeter Ambrose Akinmusire, the former also adding a touch of electronics to give the program a slight back-to-the- future feel. Drummer Tyshawn Sorey is amazing in his versatility and the delightfully economical crispness of his approach as is bassist Matt Brewer, who impresses with both fingers and bow.

“The Suite of Consequence,” running 30 minutes in length and consisting of three movements, is at the heart of this session. It is a piece that takes some active listening in order to appreciate its panoramic style and scope. This is followed by the somewhat shorter “Wayne’s World,” with inspired Binney alto work over powerful ensemble playing, a deliciously funky “Dilemma” and the clever representation of attaining the twilight that is “Somewhere Between Dreaming and Sleeping.” A touching solo performance of Andrew Hill’s “No Doubt” closes things out beautifully with a contrasting purity that is the perfect resolution to a powerful program.

Track listing: The Suite Of Consequence – Movement I; The Suite Of Consequence – Movement II; The Suite Of Consequence – Movement III; Wayne’s World; Dilemma; Somewhere Between Dreaming And Sleeping; No Doubt.

Personnel: John Escreet: piano, Fender Rhodes; David Binney: alto saxophone, electronics; Ambrose Akinmusire: trumpet; Matt Brewer: double-bass; Tyshawn Sorey: drums.

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Nate Chinen’s NY Times review of pianist John Escreet’s “Consequences” CD featuring David Binney on alto saxophone, Ambrose Akinmusire on trumpet, Matt Brewer on bass and Tyshawn Sorey on drums…

CRITICS’ CHOICE; New CDs: John Escreet
By NATE CHINEN
Published: December 1, 2008

JOHN ESCREET
”Consequences”
(Posi-Tone)

John Escreet, a British jazz pianist in his mid-20s, has no problem communicating drama. ”Consequences,” his highly accomplished debut, opens with a half-hour composition — ”The Suite of Consequence” — that divides almost imperceptibly into three parts. The piece at large is a whorl of high-impact quintet engagement, combustible solo digressions, calmly contemplative passages and flashes of mounting suspense. A lot happens there, and each moment carries its own sharp glint of conviction.

Mr. Escreet has been based in New York for the last two years, earning a master’s degree at the Manhattan School of Music and studying with two generations of pianistic modernists, Kenny Barron and Jason Moran. He has also plugged into an active network of open-minded composer-improvisers, some of whom appear here. The John Escreet Project, as he calls his superb band, features David Binney on alto saxophone, Ambrose Akinmusire on trumpet, Matt Brewer on bass and Tyshawn Sorey on drums. (The group is scheduled to appear at the Jazz Gallery in the South Village on Jan. 22; see johnescreet.com for details.)

As an instrumentalist Mr. Escreet has both his ruminative and expansive sides, drawing no clear distinction between them. He takes a moment to affirm his contemporary bona fides with ”Dilemma,” employing Fender Rhodes electric piano and a shadowy, irregular pulse. But his best playing comes in radiant bursts, in the opening suite and on a tune titled ”Wayne’s World,” presumably after the saxophonist Wayne Shorter.

The album ends with an allusion to another obvious yet unobtrusive influence, the pianist and composer Andrew Hill. By including one of Mr. Hill’s early ballads, ”No Doubt,” Mr. Escreet establishes a lineage while also making a claim. By playing it unaccompanied, he imbues his reading with the kind of dramatic tension that feels convincingly personal. NATE CHINEN

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A review of In the Paint from urbanflux

Alto Sax sensation David Binney joins forces with Trombonist Alan Ferber on “In The Paint“. Turning each of their compositional talents toward the harmonious creation of a wide variety of entertaining ensemble performances the entire session is highlighted by a pleasant combination of melodicism and surprising improvisations. The program is delightfully engaging and prominently features the flowing rhythms of veteran drummer Gerald Cleaver, the inventive counterpoint of bassist Thomas Morgan, an interesting new discovery in Peter Schlamb on vibes, and the wide harmonic palette of the celebrated musical prodigy John Escreet on piano.

While all these players on the date have strong voices and are capable of delivering jump shots from the “out” side of jazz, this record ultimately scores points because of the productive and skillful team play of the entire ensemble as they interact with the melodies and harmonic structures of the compositions.

Binney/Ferber’s “In The Paint” is a musical slam dunk that is sure to please jazz fans everywhere, and a compositional tour de force for discerning listeners to enjoy time after time.

InThePaint_final_covertheurbanflux.wordpress.com

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Heres a short write-up about “In the Paint” by David Binney and Alan Ferber…


David Binney / Alan Ferber – In The Paint

Release date: April 21st 2009

Availability: CD, MP3 Download, iTunes

David Binney’s excellent work with David Simon (“Afinidad”, “Fiestas De Agosto”, “Oceanos”) produced landmarks in intelligent, immersive jazz. The relatively new partnership with Alan Ferber returns to that productive vein after the 2006 departure with Bill Frisell on “Out Of Airplanes”.

The sextet – David Binney (alto sax), Alan Ferber (trombone), Peter Schlamb (vibes), John Escreet (piano), Thomas Morgan (bass), Gerald Cleaver (drums) – is full voiced, exploring distinctive harmonisation between alto sax and trombone.

“Paris”, a clear stand-out on an album of many successes, features new vibes player Peter Schlamb to great effect.

But there are strong, memorable compositions (the upbeat opener “Growin’ Up”, the more meditative title track and “Everybody’s Wonderland”, the Ornette Coleman-like “La Tequira”, the closer, “Our Inventions”) throughout a very fine album.

Highly recommended.

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Jazztimes review of “Consequences”

escreet-consequences

http://jazztimes.com
April 2009
John Escreet
Consequences
Posi-Tone

By Bill Milkowski

Straddling through-composed and free-form music, the U.K.-born pianist-composer John Escreet delves into original, forward-thinking territory with fellow New Yorkers and like-minded musical renegades like trumpeter Ambrose Akinmusire, alto saxophonist David Binney, bassist Matt Brewer and drummer Tyshawn Sorey. From the 30-minute “Suite of Consequence” to the episodic “Wayne’s World,” with allusions to Wayne Shorter’s harmonic genius, to the lyrical “Dilemma” and a solo piano cover of Andrew Hill’s “No Doubt,” this is challenging, rewarding stuff for adventurous listeners.