Customer Reviews

Lift: Live at the Village Vanguard

5 star:		(10)
4 star:		(2)
3 star:		(1)
2 star:		(2)
1 star:		(0)

 

 

I wouldnt normally take the time to write anything, but I noticed a few things in other reviews (particularly in "book and music lovers" review) that i feel need to be answered. I wonder if "book and music lover" actually listened to this albulm at all. "Mr. Potter has taken a simple bit of instrumental music and labeled it jazz" he says. Nothing could be farther from the truth. Surely, he had to be listening to a different albulm, else he would have heard the amazing tenor of Potter himself (which as a saxophonist myself i appreciate all the more), which although distinctive is certainly on the lines of Coltrane. He would have heard the rythm section: solid when in the background, progresssive in their own solos. He would have heard what is possibly the most brilliant take of the Mingus classic "boogie stop shuffle" (which is amazing all the more because it is in 13/4 time and subdivided in an oscillating time signature (if your not a musician, take my word that its complex and amazing)). I fail to see how this is "simple instrumental music at all.

He then says "Sorry, but good Jazz is loaded with improvisations, and written music is but an out line". This line is particularly aggravating. How does he not realize that except for the heads of the tunes, all of the albulm is improvised. More than hour of improvised music, none of which he managed to hear.

What angers me the most however is what he says last. "Take note Smooth Jazz. You are just a tiny bit above elevator music." Now, normally, i woould agree, i cant stand smooth jazz. But (please note this) THIS IS NOT SMOOTH JAZZ! i do not understand how this albulm could possibly be misconstrued as smooth jazz. I think that just his assertion that it is smooth jazz suggests that "book and music lover" clearly has no idea what hes talking about.

This is more closely a fine work of hard bop, perhaps best in line with the later live Coltrane work (think, say, 1964). It is of course very distinctive, but it is easy to hear the strains of coltrane in Potter's solos. The pianist (Kevin Hays) reminds me particularly, when he's playing piano proper and not the synth, of McCoy Tyner, one of the other central pillars of the Classic Coltrane quartet. I can similar things about the bassist and drummer (Scott Colley and Bill stewart, respectively) but im sure you understand my point by now.

"Lift" is a solid piece of modern Jazz, particularly since so many so called jazz musicians have turned to lesser things. For any true jazz fan, this is a must have. Chris Potter himself is certainly one of, if not right next to Coltrane, one of the best tenor players of now, or any time, and there is no better way to showcase his talent then in this brilliant live performance.

I like to compare this cd with the wonderful "Footprints Live" by Wayne Shorter (2001). The level is the same : quality, hits, swing, complexity. The musicians are all tremendous. Kevin Hays on piano (using funny electric gimmicks at periods), Scott Coley on bass (imperial) and Bill Stewart (who is to me one of the best jazz drummers with Bill Kilson, Ari Hoenig, Brian Blade and others...)
This Live performance is well released "mixing" up and mid-tempos.
Highly recommended.

This is some serious stuff. Check it out, but be prepared to pay attention, it's not background music for your next dinner party. The contrasting Okinawa is nicely placed in between the slowburn, slightly twisted "Lift" and intense "Boogie Stop Shuffle". Scott Colley-yep!!! Potter is at his usual, ideas-at hyperspeed, best.

The only oddity is in the liner/Cd notes. For one Potter's playing sorano on Okinawa and Stella. Also notice that times listed for tracks 06 and 07 are reversed. This seems to have confused Amazon's review by Mr. Greenberger(which unfortunetly seems to happen too often-do they listen to these disks?). Potter does not play a 15 minute intro on Boogie Stop Shuffle.

Also, another reviewer mentions Brian Blade. The drums are being played by Bill Stewart. Drummers (like me) should check this one out. I've loved Stewart's drumming on all the Scofield and Lovano' disks. The high-end, slightly reverb-ish sound quality of these records gives you one view of his sound. This live disk gives you another. There is less density and more clarity. I could transcribe for days, and maybe I will. This is the closest thing to having Mr. Stewart in your living room. One also gets more of his brushwork, which I haven't heard enough of.

Buy it, set aside a night (or two). Enjoy!!!

Jazz in its purist form, live. And who better to deliver it than Chris Potter( execept ofcourse the greats before him) Chris Potter is heated in this performance. He displays every aspect of his playing from lyrical to technical. Despite what other reviews may have said, this album does display musicality. (This is jazz folks, not Chris Botti) And don't forget the rythim section. They are as tight as they come and completely in tune with each other. Overall, a great album, surely one to go into the leagues of great albums.

For me, Chris has always been one of those artists that the studio seems to stifle. The constraints of being in a room with the red light on doesn't fit him well it seems. I've seen him live so many times (including these dates at the Vanguard) that when I saw there was a live disc coming out, I thought it would be a bit dissapointing. How would such an amazing live performer translate on to tape? I'm glad to say amazingly well.

If more jazz records had the intensity and beauty of this date, it'd be a golden age for the music no doubt. The album is simply smokin'. Chris' channelling of Sonny Rollins' style of improvisation with his own unique voice, he creates an excitment and level of energy that few are able to muster.

While the tunes have structure, much of the music is played free throughout - but quite melodically. Kevin Hays' weird creations on the Rhodes and Bill Stewart's always killing drumming are definitely highlights. Scott Colley anchors the whole affair with great command. (Plus, in person, Scott looks like a cross between Governor Ventura and Sgt. Slaughter. Gotta give him props on that.)

Simply put, this record is worth your money and then some.

The thing I love about Chris Potter (and his sometimes employer Dave Douglas) is that he tries to do distinctly different things with each album.

"Gratitude" was a tribute to the many saxophone influences who left their mark in developing Potter's distinctive sound and compositional style. It was a fantastic record that managed to capture the style of this enormously diverse collection of players (Webster, Bird, Brecker, Shorter, Joe Henderson, Ornette...even the often overlooked Eddie Harris!) and still maintained a singular voice which was unmistakably Potter's.

"Travelling Mercies" put a greater emphasis on Potter as a composer and a multi-instrumentalist, but also displayed his desire to explore the possibilities of the studio. Many tracks featured obvious (but not at all out of place) overdubs and loops, and bled into one another. Although the end result was a little uneven, it is still a fascinating record that stands up to repeat listenings. Also worth mentioning is the piano/bass clarinet rendition of the traditional hymn "Just As I Am" (erroneously credited to Willie Nelson???) which closes out the album...I mention this track in particular for its elegant simplicity, and its deeply subtle soul.

This brings me (in a very roundabout way) to "Lift" which is curious in that it is a live album which falls somewhere between his previous two studio albums. Kevin Hays' sometimes unusual, but always tasteful keyboard sounds almost make this "traditional jazz" quartet sound heavily produced at times. And the eternally creative, yet still air-tight interplay of the rhythm section would make you swear you were listening to a studio recording if you weren't holding that CD booklet in your hand that screams in bold capital letters; "LIVE"! Meanwhile, Potter's playing is acrobatic and impressive, but never in a way that is outwardly flashy or undermines the compositions or the overall effect of the ensemble...his playing here is the perfect marriage of technique and soul.

While the very dry mixing does take a slight period of adjustment, it eventually makes you feel like you are in the club with the group; and the playing is incendiary and spontaneous from the first note to the last. This quartet clearly has chemistry oozing from every hair follicle, and the set captured here is an engaging mix of distinctive, well-crafted originals and standards, that culminates in an explosive "Boogie Stop Shuffle" which simply must be heard to be believed!

"Lift" is a must-own for any fan of proficient and creative modern-jazz.

To rebuttle the supposed "Book and Music Lover" in another review...

If someone is looking for Mingus in this music, they are in absolutely the wrong place. Just because Potter plays "Boogie Stop Shuffle" doesn't mean the track or the CD will have Mingus's influence. Quite frankly, Mingus's style is one-of-a-kind and easily distinguishable from others, and Potter's is not even close... and that isn't a bad thing.

Secondly, what is this "simple bit of instrumental music?" The technique and abilities by each musician individually and as a whole unit are showcased in this album and are anything but "simple." And, when asked where the emotion is in the album, how can one NOT feel the energy of this band? From the very beginning of the heads I can feel a surge of emotion through everyone, and that's before all of the improvisation. Check out each player's interaction with one another and you will easily feel the intensity.

Furthermore, the reviewer comments that "good jazz is loaded with improvisations and the music is but an outline" and he fails to hear it in this album. Is that a joke? Does the reviewer believe that the tracks are simply written out? The composed parts of this album are but a small percentage of the overall performance and this reviewer is a fool for believing that there is no emotion, barely any improvisation, and mostly, that this in not good jazz. Chris Potter IS the future of jazz music, as shown each time he releases a new record as a band leader, and also each time he is a sideman.

This record is simply unbelievable. Purchase this for Potter in a live, more traditional setting, and then go out and purchase his latest CD "Underground" or the one previous to this, "Traveling Mercies" to see what else he is a about. All of his albums are distinctly different, but all have amazing playing and shed light to the future of the greatest, most diverse music on the planet.

I had seen Chris previously both on his own and with the Dave Holland band. I had the good fortune to be at the Village Vanguard the Saturday night this was recorded (my first trip to the Vanguard!).

I really enjoyed Traveling Mercies and was expecting to hear some of the tunes from that CD. The sampling or electronic elements on Megalopolis from that record seemed adventurous. This was not to happen as Chris Potter started off the evening by stating the previous music was "stale" and he would be playing only new tunes.

While not what I had expected I was not disappointed. The music that night was different - less restrained more intense. The sound quality on the CD is great for a live recording....but to be expected given the venue. The band was tight and enthusiastic. Their hearts were in it.

Potter has amassed a solid body of work. I am looking foward to seeing Chris"s new quartet in three weeks time to see how things have evolved now that he has changed the musicians and added a guitarist.

I've come across Chris Potter by chance,following Dave Holland recordings,and knowing nothing of the artist until the past few days,when I received my CDs,ordered in November(!). Unfortunately it takes sometime to get things by mail over here, in Kuwait, where I live, but it has been worth the wait!
The drumming and bass(7.5) remind me of a powerful recording of "Impressions",of McCoy Tyner memory(Trident was the vinyl),with Elvin Jones and Ron Carter to complete the trio. Potter's quartet,though playing with the same vigour, has different touches: piano wizard Hays plays like old time virtuoso Oscar Peterson and Potter like 1/3 Coltrane + 1/3 of Joshua Redman + 1/3 Brandford Marsalys(and what a nice cocktail!). All in all this album was a really wonderful surprise,for someone like myself that knew nothing about Potter. And music with the 3Bs:Beautiful,Beautiful, Beautiful. I love fast pace swing,and this album has plenty of it,but not only.
PS: THE RATING WAS SUPPOSED TO SHOW 5 stars,NOT 2(?).My mouse must have slipped at the wrong moment.

If you like the classic Coltrane quartet, especially tunes like "Impressions" and "I Want to Talk About You," then I'm confident you'll find Chris Potter's "Lift" to be a worthy addition to your collection. Potter and his bandmates don't copy the Coltrane quartet sound - they have their own sound - but their confidence, energy, and integrity are approaching that of Trane's quartet. Some highlights are Boogie Stop Shuffle (including an awesome 4-minute acapella sax intro) and Stella By Starlight, though every track has something positive to offer. Chris Potter has amazing technique and positive energy, and listening to his extended solos is a joy. I am sure that young tenor players everywhere will be listening to his solos at half-speed, transcribing his riffs and trying to learn how to play like him (just as he probably did with Trane and Joe Henderson).

The other cats are generally excellent, though my one complaint (and it's minor) is that the pianist occasionally plays this almost atonal distorted electric piano sound that's annoying and not really musical; mostly, though, he plays acoustic piano (or occasionally electric piano without the weird sound effects) and is quite good. The drums and bass don't sound like Elvin Jones and Jimmy Garrison, but they are approaching them in terms of their energy and talent and positive contribution to the joyful experience of listening to this CD.

Highly recommended.