JOHN'S REMEMBRANCESIn these days I received from John a copy of his last released record, “Remembrance” and, as promised to you, even if it is not my job, I will try to write a small review. But first of all, I wish to thank him for having mentioned us in the credits of his latest job.
Brian Blade, John and Joe Lovano I have just finished listening to it, and the first feeling that I perceive, besides that of light happiness that I feel every time I discover something beautiful, is to have crossed the history of Jazz of the past sixty years, in a short time of more than an hour. As he himself has defined it; “An open window in the history of Jazz”. Having reached his full musical maturity, John turns behind and writes this job intending it as a reward to all those great masters, like Sonny Rollins, John Coltrane, Thelonius Monk, Freddie Hubbard, etc. who have deeply influenced the development of the musical language in this form, and naturally also his artistic growth. To pay this tribute, he chooses one of the most classical Jazz formations: the trio, and he calls beside him two high leveled musicians. On drums sits one of its favorite colleague , with whom he cooperates in the Wayne Shorter Quartet since a decade: Brian Blade. On sax we find Joe Lovano, one of the best musicians in activity, who gave his own contribution in writing some lines of the history told by John. The record starts with a piece in a classical formation sax/bass/drum (formation used in five out of eleven pieces), dedicated to Thelonius Monk and John Coltrane, and it is the strange portrait of a surrealistic encounter between the typical wavy Monkian topics and the circular and introspective structures of Trane. The result is a very effective third way , where languages melt creating new ones. The same formation is used for other four pieces besides Monk/Trane, in those which I would define the monographs of the musicians. The third piece “Sonny Side” is with no doubts dedicated to Sonny Rollins. “Blues for Freddy” the seventh piece , to Freddy Hubbard; “Joe Hen” the ninth, to Joe Henderson as well as and the tenth “Ball Play”. In these pieces John's stylistic skill comes out in full , and he succeeds in letting the different languages come to surface while the character of a complete musician emerges so to characterize and give shape to every musical form with which he gets in touch. "Classic" examples are “Messaien's Gumbo” and “Scenes from an Opera”. The first one is developed on a topic of Messaien re-read in a light electro/funk key that slightly recalls atmospheres of the “Electric Band” by Chick Corea, of which he took part with Dave Weckl for more than fifteen years. The drummer Rogerio Boccato joins the trio as well and John plays the electric six-string bass. The second one is part of a plan to which John devote since several years, personally as well as with Shorter quartet: the melting and interaction between Jazz and classical music. The topic is clearly inspired to the Italian melodrama, like the entire movement of the piece that shows a very scenic rhythmic movement . The result is an almost dreamlike view of this particular classic form, very pleasant and matching reality. The formation is composed by Sachi Patitucci (cello) Joe Lovano (bass clarinet), Brian (drums) , and John on double bass not as pizzicato , but obviously played with a D.T. Navea Vera bow. In “Mali” he evidences the enormous contribution given to music by the African. Continent. The interpretation of the movement feeling of this country and of its inhabitants turns out to be crystal clear. The sounds and colors of the mother continent , even if the language is sometimes not that easy, comes out thrivingly so that it is very difficult to remain quiet on one's chair. Also “Safari” recalls exotic harmonies, but in a different way from the previous one; in this piece John uses language to describe a dreamlike scenery in which he wanders searching what there was once and doesn't exist anymore. Many musicians he knew who are now wandering in his soul. A particular affection ties me to “Meditations”, that was born, as he said to me, from a deep meditation about John Coltrane, and from which one receives a brilliant and very tormented vision of this Great musician. I still thank John for having dedicated it to me during his latest concert in Verona. The record closes with a moving cameo played with the small bass six-string and with the normal six -string, using the multi-track technique , and it represent a little and intimate thought dedicated to a friend whom he loved and is no more living: Michael Brecker. There is nothing else to say just that everything in this record, even the smallest detail. has been thoroughfully and carefully conceived, sarting from the tracks sequence until the excellent recording quality that I would describe up to any audiophile. A wonderful job, surely not common or banal, as one rarely can listen to.
Clicking the record cover you will get connected to Amazon site where, if you wish, you can be purchase it . Enjoy your listening ! So long Paolo
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