Tuesday, April 14, 2015
Sold Out, Young Jazz, Mature Jazz, + CD Pick
Go to nelscline.com for more information.
They issued their self-titled debut CD in 2014. Listening to that album, you can hear that the band is quite accomplished, that they have learned their lessons well, and that they are well on their way to creating a sound of their own. What stands out the most to me is that they do not get in each other's way, the music never sends cluttered. For more inflation, go to www.holophonormusic.com.
Here's a taste of the band's music to whet your appetite:
Doors open at 7:30 p.m. and the septet hits the stage at 8:30.
Music starts at 8:30 p.m. For more information, go to thesidedoorjazz.com or call 860-434-0886.
Opening the show, which takes place at 3 p.m. in G Cafe, 141 Orange Street in New Haven, will be the trio of Chris Cretella (guitar), Louis Guarino, Jr (trumpet) and series curator Carl Testa (bass, electronics). For more information, go to uncertaintymusic.com and to learn more about the venue, go to www.wholeg.com/g-cafe-new-haven.html.
A close look at the cover art will give a clue as to the introspective nature of the ballads. The program opens with Ake's original "Lone Pine (for Charlie Haden)" a solo piano piece that is emotionally rich, a simple melody that never loses its way. The melody unfolds slowly on "Tricycles", with Epstein moving high in the alto range; the intensity level ratchets up as well yet the piece never loses its legato flow. "Silver Thaw" opens with quiet piano chords before Ake plays the Erik Satie-like melody. Ferber's percussion is ever-so-soft behind the piano and it may be a moment before you even hear Epstein's alto playing along with the melody. Soprano and piano are the 2 voices on the lovely "Palhaço", an early work of Brazilian composer/pianist/guitarist Egberto Gismonti and I'm not sure mere words can describe the beauty of the performance. The program comes to a close with the title track, another piece that starts quietly (this time, with a bass solo) and slowly builds a fire but not before Ake plays an impressionistic solo. It's Epstein's alto solo that ignites the rhythm section and Ferber who stokes the fire, first in support then taking the lead. As as been stated before on this blog, engineer Nick O'Toole really knows how to record the drum set, putting the listener in the middle and never at the expense of the other instrumentalists.
The title "Lake Effect" may bring to mind cold wind and blowing snow but there is much warmth (and some playfulness) in the music of David Ake. Like fellow pianist Frank Kimbrough, he never wastes a note nor does he ever overplay. He makes certain all the musicians are involved (although I did not write much about bassist Minaie, his forcful work and melodic phrases are integral to the success of the quartet tracks.) Good music for the spring thaw, "Lake Effect" will please you any time of year. For more information, go to www.davidakemusic.com.