Customer Reviews

Black Stars

5 star:		(3)
4 star:		(5)
3 star:		(0)
2 star:		(2)
1 star:		(0)

 

 

Moran's first disc, _Soundtrack for Human Motion_, showcased a remarkable new talent, though not perhaps ideally--he had to contend with two strong lead voices (Greg Osby & Stefon Harris) & had a straightforward rhythm section that slightly squared off his more unusual rhythmic & harmonic devices. This new disc (his 3rd) matches Moran with a truly great musician, Sam Rivers, who's about 50 years Moran's senior. The rhythm section is Tarus Mateen & Nasheet Waits, & it instantly solves the problems of the previous disc's rhythm section--this is a remarkably dense & tumultuous piano-trio performance, & Moran has found his ideal interpreters. Moran's playing takes much inspiration from spiky, troublous pianists like Andrew Hill & Jaki Byard, & crosses it with contemporary funk to create a very individual groove. This disc contains some of his excellent composing, plus a Rivers tune ("Earth Song"), an Ellington ("Kinda Dukish"--it eventually turns into a vamp on the death-march finale of "Black & Tan Fantasy") & a reading of a Byard tune ("Out Front", though I've heard it under various titles as Byard tended to constantly return to his compositions over the years using different titles-of-the-moment). There's also a stunning revisiting of Monk's "Skippy", entitled "Skitter In"--the tune's stepwise shifting harmonies & lack of any harmonic resolution are ideally suited to Moran's approach to the keyboard. Rivers plays characteristically well, though he's not the force of yore, & he seems at some remove from the boiling piano-trio (indeed there are a couple moments where he seems to be momentarily uncertain as to where the music is heading or the order of solos). Nonetheless, this is a smoking disc which is a great pleasure to hear, & Moran & Rivers seem to hit it off very well in the studio.

Among the current crop of jazzmen at the new Blue Note, Jason Moran just might be the most ambitious. At a time when it seems that much of the current crop of new releases will have limited shelf lives at best, Moran's music strikes a more profound chord. At present, a shining star in Greg Osby's current ensemble, Moran has released his own highly rewarding series of dates for Blue Note, with Black Stars arguably being his most audacious set to date. There are certain guideposts that will be unmistakable to the trained ear, although this in no way should suggest that Moran is simply aping past styles. Andrew Hill and Jaki Byard are acknowledged influences, a point made further evident by the inclusion of a solo rendition of Byard's "Out Front" and by having Sam Rivers in the role of lead horn. The wood flute on "Summit" might also suggest the kind of pan-ethnic experiments that Yusef Lateef led for Impulse back in the '60s. The Hill connection comes via Moran's use of dark harmonies and edgy melodies as heard in "Gangsterism on a River" and a fluid sense of time made so apparent on "Draw the Light Out." In addition to Moran's strong writing, major kudos to his standby rhythm section of bassist Tarus Mateen and drummer Nasheet Waits. Joe Marciano's sound production is equally sturdy and luminescent. All in all, this sleeper may just turn out to be one of the strongest Blue Note releases to make the scene in quite some time.

A very good record from Jason Moran. He and his group sound terrific, and wily veteran Sam Rivers is above reproach. Every song is interesting and the album can be enjoyed over and over again. Sort of reminiscent of old Blue Note albums like Eric Dolphy's Out to lunch in that the music is exotic and accessible at the same time.

Highly listenable, spirited, thoughtfully composed, and featuring one of the greatest tenor players ever in Sam Rivers, who is brilliant, even on piano. Moran is a highly eclectic composer and pianist who has absorbed the Jazz tradition into his body and soul as well as his fingers, but also has his own ideas. The rhythm section is consistently hot and tight. No dud tracks, or even embarassing passages. I'll be buying more of Jason Moran's music. That's about as much as should be said about music.

I just recently started listening to Jason via his work with Greg Osby. I truly believe he is a monster talent and this cd shows that. "Foot Under Foot" kicks things of nicely and the cd never lets up. Track 3, "Gangsterism on a River" starts off as almost a free jazz piece and then smoothley transitions into a ballad-like tempo. The cd is, IMO, loaded with variey but maintains a great flow/theme. At 26, this is Jason's third outing as a leader and he brings veteran saxophonist Sam Rivers on board. The fact that Mr. Rivers accepted the invite says a lot about the respect that Moran has earned in the jazz world. Though many younger players could be intimidated by playing with this legend, Jason more than holds his own and clearly states who's show this is.

I also have Jason's his first two cds; "Soundtrack To Human Motion" which Greg Osby sits in on, sounds more like he was the leader instead of a sideman. It's still a very good recording. His second cd "Facing Left" is incredible and it's where Moran truely comes into his own. However, "Black Stars" is the pick of bunch. Highly recommended.

This is really a superb fresh, innovative, surprising, yet relatively easy to listen to if one is really willing to give it a try. All musicians are excellent and Sam Rivers and Jason Moran complement themselves superbly. Jason Moran has earned his place among the most promising players of the new jazz generation (my personal list includes: Don Byron, Greg Osby, Steve Coleman, Dave holland). Jazz is again an exciting and lively music to listen to thanks to them.

this is as good as any introduction to jason moran. it was my introduction a couple of years ago and i haven't stopped telling inquirers who ask who i'm listening to these days about jason moran as the best pianist out there in a straight up jazz tradition stance, who seems to have listened to just about every jazz pianist who ever played, and, while incorporating the styles of the masters, come up with an original style, something extremely difficult to do these days. without borrowing from other musical disciplines.

tarus mateen on bass and nasheet waits on drums with moran on piano is the core group. guest on this recording is sam rivers, just a powerhouse here, and really gets the recording off to a great start on the first number, foot under foot. as powerful as rivers' playing is, nothing is taken away from moran's playing.

All jazz is not created with equal intent, in that the artists pursue different aesthetic goals. The reviewers who disliked this CD made the mistake of going by the absolute value of the critical ratings, not the subjective value. Perhaps they should have bought something like the latest Spyro Gyra instead, which, while quite competently arranged, performed and recorded, places emphasis on accessibility and dance-able rhythyms. This is a more challenging and intriguing set of recordings which will give greater reward upon repeated listening to the sophisticated ear.

I bought this album because it won the album of the year from Jazztimes, I listen to it about 10 times and I still can't get it. There is no cohesion to the music, no doubt the players are really good but it leaves me feeling confused.

Well the critics certainly loved this CD, indeed Jazz Times gave it CD of the Year. Why? Every time I've played it this effort comes up short for one fundamental reason- any sane musical listener would want to turn it off straight away. Presumably young Jason is loved by the Jazz critics because he has awesome chops. But guys, don't the poor old listeners count for anything these days? Honestly this CD sounds like a car accident. I gave it two stars because Sam Rivers at least plays some nice solos on a couple of tracks. The rest of it is not worth your time.