jason-moran,TEN [Jason Moran] [CD] [1 disc], Loverly, James Newton: Sacred Works, Hagar's Song, Terra Incognita [Moran, Jason]

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JazzTimes (p.66) - "[I]t's Moran's pieces that prove the most striking on TEN, particularly the opening work 'Blue Blocks' and 'Play to Live'..."Paste (magazine) - "Fueled by the expert bustle of his trio, he's given to expansive, sparkling showpieces; solo, he coaxes the still spaces between the notes into a cadence of their own."Record Collector (magazine) (p.83) - 3 stars out of 5 -- "[A] largely introspective post-bop set that includes a version of Thelonious Monk's 'Crepuscule With Nellie.'"58.8035

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Rolling Stone (p.95) - 3.5 stars out of 5 -- "Wilson stretches jazz standards into new shapes here."Down Beat (p.72) - 3 stars out of 5 -- "The real proof is in her connection to the essence of a song like 'Gone With The Wind,' where her husky contralto blends so completely with Jason Moran's fractured piano and Marvin Sewell's guitar that the lyrics are felt as much as heard."JazzTimes (p.114) - "Here she keeps things deliberately and smartly simple....LOVERLY stands as one of Wilson's coziest, loverly-est recordings....It's full of surprises."Vibe (p.60) - "Her blue-smoked contralto is one of the most distinctive voices of her generation, and her latest album, LOVERLy, proves once again that she needs no artifice to soar musically."0.4102821

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Hagar's Song is a deeply intimate, intuitive offering from saxophonist Charles Lloyd and pianist Jason Moran, who has been a key part of Lloyd's quartet since 2008. The program is a collection of standards and originals, as well as one thorny, angular free improvisation ("Pictogram"). The title piece is a five-part suite dedicated to the memory of Lloyd's great-great grandmother, who spent most of her life as a slave. Its various sections reflect the harshness of that life, as well as moments of hope and determination. This work is not always "comfortable" to listen to, and it's not meant to be, but it is musically rich and emotionally taut. Lloyd has always celebrated his deep love of jazz and pop traditions, and those are in abundance here. The near-symbiotic dialogue the pair share on Billy Strayhorn's "Pretty Girl" and George Gershwin's "Bess You Is My Woman Now" offers both dialogic imagination as well as deep listening. (On the latter, Lloyd reveals how supple his tonal reach remains on the tenor as he nears 75; he sweeps from its middle register to something closer to the alto's.) The swinging read of "Mood Indigo" commences conventionally, but Moran's deft, blues-drenched, physical stride lends an urgency to the conversation. Likewise his punchy approach on Earl Hines' "Rosetta," where Lloyd takes the melody and opens up its joy vein, while Moran pumps it with rhythmic and lyric invention courtesy of his amazing left hand. Lloyd's love of rock and pop has its place here, too. On Bob Dylan's ballad "I Shall Be Released," Moran begins with a single repeating note, then a lone chord, as Lloyd tentatively states the melody. But by the second verse, he's quoting from Leon Russell's "A Song for You," as Moran moves its harmonic base to the modal. Lloyd brings it back via an emotional blues, but his tenor moves through its registers picking bits and pieces of the lyric line to meditate upon and explore with Moran. The closer, a reading of Brian Wilson's "God Only Knows" is just gorgeous. Moran's elaboration on the harmony in the intro sets it up outside its known parameters. Lloyd quotes the refrain and then takes the lyric line, exploring time and memory -- Lloyd ran around with the Beach Boys in Southern California in the late '60s. Satisfied, he turns it over to Moran to finish with a close, tender harmonic statement that whispers to a finish. Hagar's Song finds Lloyd and Moran at their most naturally curious and deeply attentive best, offering a conversation so intimate the listener may occasionally feel she is eavesdropping. ~ Thom Jurek0.2344469

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"...Stylised wildly at every turn..." Sight and Sound Rating: A - Recommended Entertainment Weekly "...Brash, ebullient direction....The punchy little flourishes that load this English gangster film with attitude are perfectly welcome....A fine feat of macho gamesmanship..." New York Times "...[An] exhilarating, showy cinematic style....[With] multiple cackles and head rushes..." Premiere "...It's bursting with enough cheekiness and hustle-bustle to attract a cult. It's obvious Ritchie has talent..."USA Today "...LOCK, STOCK is fun....It has an exuberance....It's alive..." Chicago Sun-Times5.784882

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BOOK REVIEWS COMING SOON!!!!0.1828964

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