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Audio CD, March 9, 2004
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Songs from this album are available to purchase as MP3s. Click on "Buy MP3" or view the MP3 Album.

Song Title Time Price
listen  1. 1979 Semi-Finalist (Album Version) 5:18$0.99  Buy MP3 
listen  2. Cheney Piñata (Album Version) 4:49$0.99  Buy MP3 
listen  3. Street Woman (Album Version) 3:56$0.99  Buy MP3 
listen  4. And Here We Test Our Powers Of Observation (Album Version) 4:21$0.99  Buy MP3 
listen  5. Frog And Toad (Album Version) 3:36$0.99  Buy MP3 
listen  6. Velouria (Album Version) 5:35$0.99  Buy MP3 
listen  7. Layin' A Strip For The Higher-Self State Line (Album Version) 4:14$0.99  Buy MP3 
listen  8. Do Your Sums-Die Like A Dog-Play For Home (Album Version) 5:03$0.99  Buy MP3 
listen  9. Dirty Blonde (Album Version) 3:42$0.99  Buy MP3 
listen10. Neptune (The Planet) (Album Version) 5:28$0.99  Buy MP3 
listen11. Iron Man (Album Version) 6:02$0.99  Buy MP3 

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Product Details

  • Audio CD (March 9, 2004)
  • Number of Discs: 1
  • Label: Columbia
  • ASIN: B0001AP0PY
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (36 customer reviews)
  • Amazon Best Sellers Rank: #191,914 in Music (See Top 100 in Music)

Editorial Reviews


Recorded in England after a stretch of continuous touring, Give is a more-than-worthy successor to 2003's These Are the Vistas, the major-label debut that launched the Bad Plus as a significant musical force. The Midwestern piano trio doesn't just link the worlds of abstract jazz and big-beat rock--instead, they smash them together, fusing bombast and subtlety with wit and art in consistently surprising ways. It's most apparent in the covers. The Pixies' "Velouria" develops a heady layer of Spanish impressionism, while Ornette Coleman's "Street Woman," showcasing Reid Anderson's propulsive bass, is much closer to jazz expectations--the early Paul Bley trio, say, if jazz expectations get that high. Black Sabbath's "Iron Man" becomes a manifesto, pianist Ethan Iverson combining the elementary theme with an anarchic, trip-hammer right hand straight from the playground of free jazz. The originals cover even more ground--from the colliding ironies of Iverson's "Cheney Piñata" to the sweetness of drummer David King's "Frog and Toad." Produced, like the last CD, by Tchad Blake, Give demonstrates just how effectively pop production values and jazz spontaneity can interact. King's drumming alone is a sonic and creative highlight throughout. Along with a new aesthetic, the Bad Plus has already begun to define a new audience, and this CD should both delight and enlarge it. --Stuart Broomer

Customer Reviews

Each song sounds like it's own concert piece.
Steven Meyers
I think this album, along with anything else with that you can find these guys playing on, is a great listen each and every time you listen.
This is where rock and jazz collide and create a whirling halestrom that will undoubtably alter the course of modern music.

Most Helpful Customer Reviews

34 of 40 people found the following review helpful By Jan P. Dennis on March 18, 2004
Format: Audio CD
The Bad Plus, quintessential bad boyz of jazz, are at it again, wreaking havoc, running roughshod over bebop sensibilities, and just mangling and destroying everything in their path.
One thing the stodgy jazz press seems to have missed is how funny this disc is. Things start out with a bang on "1979 Semi-finalist" as the boyz paint a glorious sound picture of a local bowler who's just missed enshrinement in the neighborhood bowling hall of fame dejectedly making his way home. Right outta The Big Lebowski. Things reach an early high with "Cheney Piñata," a demented boleroish mariachi number, in which the lads perform a not-so-sly send-up of our revered Vice President. You can almost see the outraged citizenry taking their turn at bashing the piñata-veep. Should provide vicarious catharsis for all those disgusted with the war. The ball keeps right on rolling with "Street Woman," a marvelous deconstruction of the famous Ornette Coleman tune, with Reid Anderson slinging some righteous, gloriously twangy bass, David King basically freaking out on his kit, and Ethan Iverson thundering out fabulous faux-classical chords. It's simply amazing how they manage any coherence from such aural mayhem, but they do, all the while maintaining a too-cool, bash-it-up, deconstructionist mentality. And their fake-rockabilly number, "Layin' a Strip for the Higher-self State Line" seals the deal. Probably among the most hilarious instrumentals ever recorded, you can tell the guys are just having a ball with it. That should give you a taste of what the proceedings are like.
The biggest problem for the nay-sayers, I'm sure, continues to be David King, he of the brashly insouciant drum pyrotechnics (check out his moves on "Veloria"), undoubtedly mistaken for kit cluelessness.
Read more ›
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16 of 18 people found the following review helpful By Dave Stagner on August 4, 2004
Format: Audio CD
There's a great scene in an old episode of "Murphy Brown", where Murphy Brown snuck one of her toddler's finger paintings into an abstract art show. Two critics start arguing over it - one calling it brilliant, the other calling it childish. Murphy Brown looks and notices it's been sold. So she asks the buyer what he saw in it. He said he hadn't even looked at it... he just saw two critics arguing heatedly over it and considered it a good investment.

The way critics spar over The Bad Plus, consider this album a good investment!

That being said, i don't know which amuses me more... watching the band making devil horns at the stuffy jazz establishment, or watching them getting kids raised on alt-rock headbanging away on avant-garde acoustic piano trio music. They're neither the saviors of jazz non-jazz critics say they are, nor the enemies of jazz culture that some jazz critics think. They're just three guys playing what THEY like, and not giving a Cheney what anyone else thinks. For a narrow segment of broad-minded Gen-X music fans, they're like coming home. And for a lot of other people, they're an invitation to an exotic new world.

As for this particular album, "Give" is a bit heavier than "These are the Vistas", less accessible and more abstract. But it's a minor difference. I love them both.

If you care enough to even be reading this review, you owe it to yourself to listen to this album yourself. If you love it, you love it. If you hate it, give it to someone who WILL love it!
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11 of 12 people found the following review helpful By The Groove on March 11, 2004
Format: Audio CD
The Bad Plus's Sony debut, "These Are the Vistas," twisted the rules of jazz even further by adding a few rock touches and performing admirable covers of Nirvana, Blondie and Apex Twin. It's a hard formula to improve on, and they don't exactly do that on their solid followup "Give." Here, the trio of Reid Anderson (bass), Ethan Iverson (piano), and David King (drums) remains quite faithful to the formula that made their predecessor a success. We have the laid-back feel of "1979 Semi-Finalist," a touch of Latin flavor on "Cheney Pinata," and the elegant "And Here We Test Our Powers of Observation." They're slices of delectable jazz that pay respect to their elders (Miles Davis, Dave Brubeck) while remaining modern and fresh. But the track that made me stop everything is their creative rendition of Black Sabbath's "Iron Man," which is nearly worth the price of this whole CD. They do a cover that's faithful to the mood of the original while injecting their own flavor, and it's sure to please jazz lovers and Sabbath fans alike. This CD also has an enhanced portion that will take you to their website, where you can read updates, download stuff, and watch live performances (best viewed with a broadband connection). While "Give" may lack some of the unexpected punch of "These Are the Vistas," it's a completely likable effort that dodges the sophomore slump.
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7 of 8 people found the following review helpful By A Jazz Addict on March 14, 2004
Format: Audio CD
I bought "Give" two days ago and I've listened to it from one end to the other eight times since then. There's a lot of hype surrounding the group about their covers of hard rock songs, but in fact, about 2/3 of the tracks on this CD are brilliant original compositions.
The album as a whole has a definite flavor. A little bit darker and more abstract than their last album, These Are The Vistas. Personally, I love the raw energy of this album, and while These Are The Vistas is great, I definitely prefer this one.
Some of my favorite tracks from the album are:
1979 Semi-Finalist
And Here We Test Our Powers Of Observation
Neptune (The Planet)
As has previously been said, Cheney Pinata, while entertaining and worth listening to, is probably the weakest track on the album. However, the rest of the CD is so excellent that one hardly notices.
I would give a slight warning to people who have spent years listening to the "verse, chorus, verse, chorus" music on the radio because they may find this album a bit of a shock due to its abstractness. However, anyone acquainted with jazz should find this quickly becoming one of their favorite CD's.
This is the best (new) jazz CD that I've listened to in a VERY long time. I can't recommend it enough.
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