- Audio CD (January 12, 2004)
- Original Release Date: January 12, 2004
- Number of Discs: 1
- Label: Essence Jazz
- ASIN: B0001BF9UO
- Amazon Best Sellers Rank: #759,086 in Music (See Top 100 in Music)
Product Details
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| 1. Shades of People straight jazz rock groove commercial audience favorite |
| 2. After You’ve Gone swing audience fav artist fav |
| 3. I’m Old Fashioned straight groove impressionistic |
| 4. All The Things You Are medium swing standard artist fav |
| 5. Meditation No.1 slow straight impressionistic |
| 6. Somewhere ballad impressionistic artist fav |
| 7. Wave bossa nova artist fav audience fav |
| 8. I remember You medium up swing |
| 9. Impromptu and Fantasy straight eighths latin keltic bossa artist fav |
The Byard influence is quite apparent on the 7th cut - Carlos Jobims Wave which features a delightful solo piano intro. The 2nd piece is the classic After Youve Gone that incorporates many elements of the jazz piano tradition. It begins with a funky shuffle which converts to an aggressive swing feel. Ragtime is also part of the arrangement. Im Old Fashioned follows with a straight groove that also nicely features Hubbards woody and resonant solo stylings.
Another standard, Kerns All The Things You Are , is given an up tempo treatment that goes in surprising and exhilarating directions. Tims piano solo is broken down into a completely different feel. Then it resumes high energy featuring turbulent staccato notes at times. As in the work of two of Tims inspirational influences Bill Evans and Keith Jarrett, impressionism and introspection are key elements in his approach. Dense and spacious chords, reminiscent of Ravel and Debussy, are especially notable on pieces like Bernsteins Somewhere and the title track Shades Of People
But its Lyddons original compositions that display the full breadth of his exceptional talent.
Even on pieces like the percussively grooving title cut and the adventurously conceived, driving latin piece, Impromptu And Fantasy, the sensitive interplay between piano, bass and drums is always the prime directive. The Impromptu begins with an angular approach which takes on a keltic vibe before unleashing the smooth up tempo bossa.
Tim couldnt ask for better or more sensitive support from bass and drums than he receives here. Hubbards subtly shaded but rock solid bass work and Latzkys deft, light touch (often just using brushes) never overplay, and in Tims words "provide a solid foundation from which the piano can lay its impressionistic colors like a floating blanket."
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