Customer Reviews

Season of Changes

5 star:		(16)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Born in Louisiana, Blade developed his unique drumming style from a wide range of influences and teachers including Elvin Jones, John Vidacovich, Art Blakey, David Lee, Jr., and Paul Motian.

Brian has made quite a name for himself as a sideman drummer, playing for artists ranging from Joshua Redman to Joni Mitchell, to Bob Dylan, Daniel Lanois, Kenny Garrett, Pat Metheny, Seal and Emmylou Harris.

His style relies more on tone and subtle flourishes instead of speed, power or in-your-face complexity; attributes that are attractive to leaders who need steadiness in their percussion, not co-leaders.

Brian Blade is also a very capable leader himself and the three opportunities he's taken to be one on an album he's shown a propensity for melody, mood, and ensemble playing.

The Daniel Lanois-produced debut album "The Brian Blade Fellowship" firmly sets down those principles, but it's on "Perceptual" (produced by Blade himself) where such principles are fully realized and executed.

Brian Blade and the Fellowship Band make their Verve Records debut with the release of "Season of Changes", after eight years from "Percetual", released in 2000.

This beautiful and powerful album features acclaimed drummer Blade, pianist and composer Jon Cowherd (piano, pump organ, moog, Wurlitzer), Chris Thomas (bass), Myron Walden (alto saxophone, bass clarinet), Melvin Butler (tenor saxophone), and Kurt Rosenwinkel (guitar).

It features nine new moving works by Blade and Jon Cowherd.

It opens with the gently striking "Rubylou's Lullaby", just one of six Blade compositions on the record, followed by Jon Cowherd's driving "Return of the Prodigal Son", a work in several movements that showcases the amazing guitar work of Kurt Rosenwinkel and the emotive tenor of Melvin Butler.

The record's title track "Season of Changes" is a modern epic penned by Cowherd, revealing his depth and growth as a composer and his ability to write for the entire bands' collective expression. At the pivotal point of the recording, there are two interpretations of "Most Precious One" and "Most Precious One (Prodigy)".

The former starts off with the steady bass mantra, played by Chris Thomas, then transitions into a more layered and beat-driven performance of the composition. "Stoner Hill" and "Alpha and Omega" are both through composed pieces by Blade and the record closes with another of his originals entitled "Omni" which features the soaring alto saxophone of Myron Walden.

The album was recorded and mixed by Tucker Martine and produced by Brian Blade and Jon Cowherd.

Have a great listening experience !

Brian Blade Fellowship

Perceptual

This record is slower and more somber and deliberate in general than the previous two Fellowship releases. It's also missing the inspirational and atmospheric pedal steel work of Dave Easley, who was a big part of the first two discs.

But it's still a must-have and a must-listen for me. It has the instantly recognizable Fellowship vibe, which is not to be found anywhere else. This band plays with tremendous commitment and communion, and the writing is truly singular and remarkable. There's nothing else out there that sounds like this ensemble, and few efforts go as deep or feature such empathetic playing.

Brian Blade and the other players in this band have been involved in many other noteworthy projects, but this thing that they have together as a unit is special. To me, the three Fellowship records are confirming and uplifting emotional and spiritual touchstones. I frequently give them to people and hope that they can take some time out, soak the music in and give it a chance to make a difference to them.

Whether you're a musician or not, as many people have said, music has the power to change and enhance lives, and the Fellowship's body of music is right up at the top of my personal list of life changing and enhancing music. I know it's not for everyone and some people are not overly enthusiastic about it - that's OK. It reached out and grabbed me involuntarily, and I'm so glad that many others feel as strongly about this group as I do.

Keep this band working and recording, Brian. I know the economics are a challenge for a 6 or 7 piece band playing original music. But it needs to keep on being heard and felt.

Two albums in, I've learned to recognise Brian Blade's very unique sound and as soon as I heard the first few bars of the first track on this CD, the first we've heard from him and his Fellowship Band since 2000, a beatific smile spread over my face. Some hoping for some sort of musical radical departure may be disappointed, feeling that this is just more of the same but I'm as happy as a lark with it. As always, Kurt Rosenwinkel's guitar seduced me in from the word go and I was swept away right until the very last note of the final track.

More or less all the members of the Fellowship Band are present and correct: supporting Blade and his drums are Jon Cowherd on piano, pump organ, Moog & Wurlitzer; Rosenwinkel is on guitar of course; Myron Walden is on alto saxophone & bass clarinet; Melvin Butler on tenor saxophone and Chris Thomas is on bass. The only thing missing from the familiar mix is Dave Easley and his pedal steel guitar but it's a minor deficiency - if that's even the appropriate word to use - and goes practically unnoticed.

I have no favourite tracks this time around (though the unusually thumping, driving beat of "Most Precious One (Prodigy)" is the one song that made me look up from what I was doing while I was listening); the entire album is intoxicatingly delicious. Highly recommended, as are Blade's other two recordings, 1998's Brian Blade Fellowship and 2000's Perceptual.

I was captivated by the reviews so I acquired this and have now listened to this a few times. This collection does have virtues. Primarily, Kurt Rosenwinkel's guitar is interesting and innovative, and the textures - pipe organ, bass clarinet, etc. - give this band a different and refreshing sound at times.

Still, I am not blown away and upon repeated listenings bored rather than enthralled. The main draw back is that I just don't find the compositions to be that interesting. Many are in this somber/pastoral kind of vein but more somber than pastoral and I just don't find that they provide interesting canvases for the soloists. Many leave Brian Blade almost too far in the background - democratically supporting compositons rather than stepping out. Also, the textural variations from electric stuff to more acoustic based stuff, while a neat concept, somehow come across to me as disjointed as a lisening experience. The CD as a whole does not flow for me.

Speaking of textures, I have always loved the tonality of the bass clarinet. But I would advocate Eric Dolphy or Don Byron. And again, Kurt Rosenwinkel is an interesting and innovative guitarist. I would check him out in other contexts - if I am not mistaken Paul Motian's Garden of Eden Band. Now there's one that merits 5 stars!

This IS an interesting CD and a neat group of musicians. The five stars just don't shine for me.

I just played this cd after listening to Progressions: 100 Years of Jazz Guitar, co-produced by John Scofield, and I was struck by how Kurt Rosenwinkel's playing with the Brian Blade Fellowship sounds better to me than the playing of most of the greats of the 70s, 80s, and 90s. So many of these guys sound tense, as if they're trying to prove something. I like virtuosity as well the next man, but I like it most when a player's skill gives him the confidence to relax and get into a tune. Kurt's playing on this album displays that rare combination of flawless technique and a big heart. In fact these are my favorite KR tracks since Heartcore. Melvin Butler's tenor playing and Chris Thomas's bass playing are unusually soulful too. Thanks Brian for a great album.

I have been checking and looking and waiting since Perceptual. In fact Perceptual is always in my rotation. The new CD Season of Changes has allowed Perceptual to rest (briefly). Contrary to it's title Blade and The Fellowship Band have not let up on making an audio experience visual. This groups sound makes you envision a place, a time or a person that you may or may not know. The sound is also atmosphere of intensity. When you hear them play, you feel them, you feel him. Absolutely outstanding from beginning to end and you will not put it down until his next CD (then you'll pick it back up again and again).

All of Brian Blades Fellowship albums (this is the third) are excellent! The compositions are from the heart and soul of the writer's and the players bring life to them with pieces of their own hearts and souls. This is not the same old bebop variations that you hear from Wynton and his followers. This is new music, that's rather difficult to pigeonhole. It's definitely jazz, though. There is great improvising, there is a great flow within the whole group. They obviously love to play this music, and they obviously love to play together. They have a definite group sound, and the compositions are not just platforms for solos, they are complex conceptual pieces that sound simple. That's a difficult thing to pull off and they do it masterfully. Be sure and listen to it several times before you decide if you like it. It grows on you, and soon you'll be carrying it with you everywhere you go, just like I do!

After repeated listens....I think this is the strongest effort by the Brian Blade Fellowship yet. The writing is amazing, and the playing is beautiful.

They keep getting better and better with every album...let's hope we don't have to wait another decade for the next one.

If you are already a fan, definitely pick this album up. If you are new to this group...buy this along with the previous album (Perceptual).

The fellowship is without question one of my favorite small groups in modern jazz. They have cultivated such a distinctive and personal sound as a group, incorporating the best of jazz, rock and folk. This is ANYTHING but generic contemporary jazz! Brian is one of my favorite musicians period. Everything he touches is so thoughtful, sincere... and of course grooves like nothing else!

CREDITS:

Brian Blade (drums/compositions)

Jon Cowherd (keys/compositions)

Kurt Rosenwinkel (guitar)

Myron Walden (alto/bass clarinet)

Melvin Butler (tenor)

Chris Thomas (bass)

Brian Blade's group marries the thematic approach of great pop albums with the spontaneity and improvisation of jazz. The music is well written and thoughtful. The album has been in my CD carousel since it arrived. Enough said...

Remember those albums when the music beckoned you to listen to every note? This is it. All those cliches, "The music is more than the sum of it's parts.", "The music plays the band." You'll be repeating all your plays of this album. It's just that incredible.......