Customer Reviews

Bounce

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

 

 

. . . More than twenty years in the case of Terence Blanchard. He's always had the chops; that was clear from his Messenger days. He's made some pretty good records over the years (Jazz in Film, Wandering Moon, Malcolm X Jazz Suite), but nothing mind-blowing.

Bounce, his latest, not only vaults him to the absolute top level of jazz musicians, leaders, composers, and arrangers, it is certainly one of the very best jazz discs in a year of one brilliant recording after another.

How did he do it? A number of things work together to make this release finally demonstrate his musical genius. First, the core of this band (Blanchard, Brice Winston, ts. & ss., and Eric Harland, d) has been together for about four years. In that time, they've arrived at a level of musical interaction and conversation reserved for only the greatest jazz groups, e.g., the Standards Trio and the Dave Holland Quintet. Second, the new band members added since Wandering Moon--Aaron Parks, p., Brandon Owens, b., Robert Glasper, keys, and esp. Lionel Loueke, g.--bring a nu groove, a rhythmic loose-limbness, exotic coloration, and swinging tunes previously not found or only partially realized on past Blanchard discs. Third, the move to Blue Note obviously helped. The band's sound signature fairly jumps out of the speakers--perhaps a combination of better technology and the veteran Michael Cuscuna on board as co-producer.

In any case, a Terence Blanchard record has NEVER sounded like this before. There's a huge joyous, ebullient, good-time vibe all over this disc. Yet there's also pathos, zaniness, and some wicked funk happening. With such a broad musical palette, one might think things would be too all over the place, too eclectic. Amazingly, there's a definite Blanchard band sound no matter which jazz sub-genre they play in.

I'm a little surprised this disc wasn't called "Transform," the title of the most amazing cut on this record, and one of the most remarkable jazz performances I've ever heard. It would be an entirely suitable title for what's happening here--the transformation of mere jazz into something beyond category, the transformation of a solid player with an impressive resume into a monster jazzman. It probably wasn't called that because it's an Eric Harland tune, not the leader's.

"Transform" starts out innocently enough with Brandon Owen laying down a cool bass vamp. When Eric Harland comes in after a couple measures all over his kit, followed by Parks with some gorgeous Toto/Bruce Hornsby-styled piano figures, then Blanchard stating the ravishing melody and Winston adding tasty harmony, things start to really cook. All the while, there's this deep African Township/Malian groove, driven by killer ensemble work as well as Aaron Parks's happily percussive pianisms and kalimba-sounding plunkings from Loueke on guitar. Next, Blanchard tears into his most brilliant and satisfying solo ever. Things mellow slightly until Winston launches into his slow-burning-but-eventually-all-out monster solo on tenor. Just when you think that can't be topped, Parks uncorks some incredible single note piano ideas, sounding like a cross between early Keith Jarrett and Bruce Hornsby on steroids. The band returns for some more stunning ensemble playing before Eric Harland literally explodes all over his kit, delivering a stunning yet entirely tasty drum solo (it is, after all, his tune). One final burst with everyone wailing, the piece fades, and I'm sitting in my chair stunned, bowled over, drained--and quickly reaching for the repeat button.

And though "Transform" stands out by virtue of its melodic and rhythmic brilliance, the exceptional level of ensemble playing and soloing, the sheer beauty of its sonic conception and execution, there are many other great numbers on the disc as well: "On the Verge," a mesmerizing Latin-tinged number penned by pianist Parks that opens the disc; a brilliant but slightly goofy hip-hop version of Wayne Shorter's "Footprints"; "Passionate Courage" and "Innocence," two absolutely beautiful ballads; and "Azania," a rollicking number that would've sounded entirely at home in Don Pullen's wonderful Afro-Brazilian band.

I don't know if I've ever written such a superlative-loaded review as this; actually, I'm kinda speechless after listening to this marvelous music for practically three days straight. If this isn't the best jazz release of this year, it certainly for me is the most unexpected, and, I must say, one of the most welcome.

As an earlier reviewer stated, Blanchard has recorded a number of fine albums, but this is the best. The compositions and arrangements are strong, the ensemble playing is flawless, the solos--from all players--range from good to mind-blowing. This album finds the sweet spot between adherence to tradition and openness to modernity.

Please ignore those who say that a couple of the cuts sound like smooth jazz; they don't. The most you could say is that a couple of the cuts bear a superficial similarity to smooth jazz, in the same sense that some of Pat Metheny's music bears a superfical similarity to New Age. But if you can't hear the difference between Terence Blanchard and Dave Koz, or the difference between Pat Metheny and Yanni, then God help you.

I was drawn by the arrangement of Footprints on this album...think it's one of the best I've heard in a long time of hearing Footprints played in so many different ways by so many different artists, both local &
well-known. The rest of the tracs are smokin' too though. I'm pleased my attention was caught by his playing, he's not afraid to express himself & goes above & beyond the "comfort zone" so many musicians seem to settle into.

I remember going to a concert that Terence held back in June in Saratoga, New York, and he played a lot of the songs on this album. While the music sounds kind of like smooth jazz (ugh) on the first listening, after multiple listening you can hear a natural groove that simply can't be found in smooth jazz. His compositions are fantastic (session highlights include "Transform" and "Azania," where guitarist Lionel Loueke does an African chant), but one of the most intriguing elements of the album is the hip-hop inspired version of "Footprints." While I know somebody who would consider this new version to be a "disgrace to a classic song," I view it to be a breath of fresh air. Overall, this is unquestionably in the running for an album of the year award, whether Stanley Crouch likes it or not.

The trumpet player with the most recognizable sound in the business today makes his Bluenote debut, and a stunning debut it is. Blanchard leads an ensemble consisting of top shelf musicians that shine every chance they get. Drummer Eric Harland plays a major role in the success of the music. Whether providing rythymic explosions in just the right places (check out track 3 "Fred Brown") or just hanging in the back keeping it all together, the man is a monster. In the end though it's Blanchard's trumpet stands out. His solos are tight, to the point and dripping with emotion. He makes that trumpet moan.

The disc is full of variety including swinging workouts ("On the Verge"), moody ballads ("Nocturna") and Afro-Cuban ("Azania"). One of the highlights for me is a slow funk reworking of Wayne Shorter's classic "Footprints".

Terence Blanchard and Bluenote were made for each other. Sometimes an artist feels the need to switch gears along with switching labels. Luckily that's not true in this case. Blanchard continues to do what he's done so well in the past - make great jazz. He may not be breaking new ground with this record, but like I said he's making great music, and sometimes that's more than enough.

Very good jazz CD. Nice to hear such a pure sound of the trumpet and the versatility of Blanchard. He is a true "young lion" and can go toe-to-toe with the great Wynton Marsalis. This is a comprehensive CD of traditional and contemporary (not smooth) jazz.

For clarification, if Amazon provided half stars, I'd give this three and a half.

All the discussion about Mr. Marsalis is unnecessary. He and TB are both contemporary Jazz trumpeters but that's where the similarity ends.

This is a fine session, the band is loose throughout and there's a very good selection of songs here, half of them TB originals and half of them covers (though no "standards"). On a couple of songs the playing almost moves a little too close to Smoothe Jazz territory for my comfort. However, for example on "passionate Courage", Aaron Parks' excellent piano playing salvages the song.

Altogether an enjoyable listen, though by no meams a classic. (Thankfully Mr. Blanchard avoids the tendency to include exercises in screeching dissonance to obtain "credibility" among some of the critical circles.)

The compositions on this album are great. The musicians too, are very good - especially drummer eric harland and pianist aaron parks but blanchard's playing leaves a LOT to be desired. First of, the horns on this recording sound like they were recorded in a bathroom or echo chamber - the reverb is just too much. Secondly, blanchards playing seems less than inspired and frankly I thought I'd enjoy the album more if his solos were cut out. I won't articulate why I feel that way - it's only a matter of opinion, after all, aye? Ultiamtely the CD over all is pretty strong though. Again, the compositions are great and sound quality is very good too.

If I wanted to listen to smooth jazz I would just find the lame station here in NOLA
Mr. Blanchard suns one in live venues, but the last few longplayers have slud down to
dis and not ever going to rebound. Please Mister throw us something like real Jazz??

A brilliant recording. He has always been good and gets better. It's a pity that he does not get the attention that is unfairly given to Wynton. Wynton should learn from Terence about openess and creativity. I will repeat that Wynton should use his mouth to practise and play rather than spew his usual mantra. Any new trumpeter should follow him and not Wynton on how to be a good player. If you want to follow Wybton, please listen to your local school band trumpeter.