Customer Reviews

South

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

 

 

Dave Binney's turning into a monster musician, one of the very best on the jazz scene today. I thought his last disc, Free to Dream, on his own label, Mythology, was outstanding, but he's outdone himself here.

With an absolutely killer band (Chris Potter, ts; Adam Rogers, g; Uri Caine, p; Scott Colley, b; and either Brian Blade or Jim Black, d), devilishly clever compositions, brilliant soloing and ensemble playing, and just general melodic, rhythmic, and harmonic smarts, this record moves Binney to the very front of the jazz ranks. Make no mistake, his band mates are some of the very finest players around. Each is a leader in his own right, and their taste and savvy shine through gloriously on some of the most beautiful ensemble playing I've ever heard. From the opening fugue-like dual sax treatment, through Adam Rogers's lonesome American Southwest-sounding acoustic guitar opening to the final track, these songs glow with an elegiac presence rarely found in jazz these days--or at any time, for that matter.

A difficulty for jazz has been resolving problems having to do with tradition and innovation, composition and improvisation, rhythmic and melodic/harmonic material, and emotion/sentiment and structure. The problems are more difficult in jazz than other musical forms because there is generally more going on, more to master, and more at stake. Because it has always been a wildly eclectic music, jazz has often employed clever strategies to resolve these problems. These include assimilation, appropriation, innovation, and periodic overhauls of the entire enterprise. It's not hard to trace jazz's evolution from an odd coming together of European, African, and Creole elements, through its initial jump phase, through swing, bebop, free, hard bop, post-bop, and up to the present, with jazz-funk, jazz-electronica, world jazz, and other hybrids vying for attention. Along the way, certain players mightily moved it forward: Sidney Bechet, Louis Armstrong, Duke Ellington, Thelonius Monk, Charlie Parker, John Coltrane, Ornette Coleman, Cecil Taylor, Miles Davis, Wayne Shorter, and countless others. After an initial resistance to whatever New Thing comes along, the assimilation process generally takes over and the innovations become part of the developing jazz vocabulary.

The trick is to be able to create beautiful, enduring jazz in the midst of a period of radical change that the music periodically goes through (as it is presently). And that is what Dave Binney has been perfecting over his last few records (and I would include his work with Lan Xang). Though he really doesn't sound all that much like these people (nor do they necessarily sound that much like each other), he seems to share an aesthetic with them: Ben Allison, Michael Blake, Peter Epstein, Ben Monder, Stephon Harris, Ethan Iverson, Vijay Iyer, and Michael Moore. Each has big ears, a massive knowledge of the tradition, compositional genius, and a unique approach to his instrument. Like these artists, he can effortless evoke and create stunning songs in an endless variety of musical contexts: world jazz, straight-ahead, Latin, Caribbean, African, mystical, elegiac, plaintive, ecstatic.

Yes, it certainly helps to have like-minded musicians on board with such brilliant instincts, endless empathy, and chops to burn. But it also takes a really smart guy to know how to most effective use and integrate their talents to make such a stunning musical statement as this is. For me, one of the proofs of the greatness of this disc is that it's over 70 minutes long, and I never feel like it's dragging or that I wish it were over. And I can listen to it repeatedly and consistently find new gems.

My only quibble, and it's a really minor one, is that I'd like to hear Jim Black on all the cuts. On the two that feature him, he's such a strong presence that he brings things to a new level. Don't get me wrong; Brian Blade is no slouch. Indeed, he's one of the very best of the younger jazz drummers (and he particularly shines on "New York Nature," which also features a killer Adam Rogers guitar solo).

With many astounding jazz releases of late, this one has to rank at or near the very top. It is one of my all-time favorites.

This CD featuring D. Binney (as), C. Potter (ts), S. Colley (b), U. Caine (p), A. Rogers (g), and either B. Blade or J. Black (d) is a modern masterpiece. To begin with there is an all-star cast and the blazing intertwining solos of Potter, Binney, Caine, and Rogers are just amazing. But this impressive display of musical talent pales in comparison to what really makes this album special... Dave Binney's song writing. The album has an aquatic mariner theme to it and the songs are reflective and break taking. The harmony of the sax line lines combined with guitar parts are just drop dead gorgeous. The highlight of the album is hands down "Leaving the sea". This song starts out slowly with the mood of a creaky old ship, but you have to be 7 years dead not to feel something when the mood swells and the song builds to full out romp. Warning: After picking up this CD you are probably going to feel compelled to go out and buy everything Dave Binney has ever recorded. My only gripe with Dave Binney is why doesn't he ever come out to Oakland to play?

Dave Binney's turning into a monster musician, one of the very best on the jazz scene today. I thought his last disc, Free to Dream, on his own label, Mythology, was outstanding, but he's outdone himself here.

With an absolutely killer band (Chris Potter, ts; Adam Rogers, g; Uri Caine, p; Scott Colley, b; and either Brian Blade or Jim Black, d), devilishly clever compositions, brilliant soloing and ensemble playing, and just general melodic, rhythmic, and harmonic smarts, this record moves Binney to the very front of the jazz ranks. Make no mistake, his bandmates are some of the very finest players around. Each is a leader in his own right, and their taste and savvy shine through gloriously on some of the most beautiful ensemble playing I've ever heard. From the opening fugue-like dual sax treatment, through Adam Rogers's lonesome American Southwest-sounding acoustic guitar opening to the final track, these songs glow with an elegiac presence rarely found in jazz these days--or at any time, for that matter.

A difficulty for jazz has been resolving problems having to do with tradition and innovation, composition and improvisation, rhythmic and melodic/harmonic material, and emotion/sentiment and structure. The problems are more difficult in jazz than other musical forms because there is generally more going on, more to master, and more at stake. Because it has always been a wildly eclectic music, jazz has often employed clever strategies to resolve these problems. These include assimilation, appropriation, innovation, and periodic overhauls of the entire enterprise. It's not hard to trace jazz's evolution from an odd coming together of European, African, and Creole elements, through its initial jump phase, through swing, bebop, free, hard bop, post-bop, and up to the present, with jazz-funk, jazz-electronica, world jazz, and other hybrids vying for attention. Along the way, certain players mightily moved it forward: Sidney Bechet, Louis Armstrong, Duke Ellington, Thelonius Monk, Charlie Parker, John Coltrane, Ornette Coleman, Cecil Taylor, Miles Davis, Wayne Shorter, and countless others. After an initial resistance to whatever New Thing comes along, the assimilation process generally takes over and the innovations become part of the developing jazz vocabulary.

The trick is to be able to create beautiful, enduring jazz in the midst of a period of radical change that the music periodically goes through (as it is presently). And that is what Dave Binney has been perfecting over his last few records (and I would include his work with Lan Xang). Though he really doesn't sound all that much like these people (nor do they necessarily sound that much like each other), he seems to share an aesthetic with them: Ben Allison, Michael Blake, Peter Epstein, Ben Monder, Stephon Harris, Ethan Iverson, Vijay Iyer, and Michael Moore. Each has big ears, a massive knowledge of the tradition, compositional genius, and a unique approach to his instrument. Like these artists, he can effortless evoke and create stunning songs in an endless variety of musical contexts: world jazz, straight-ahead, Latin, Caribbean, African, mystical, elegiac, plaintive, ecstatic.

Yes, it certainly helps to have like-minded musicians on board with such big ears, brilliant instincts, endless empathy, and chops to burn. But it also takes a really smart guy to know how to most effective use and integrate their talents to make such a stunning musical statement as this is. For me, one of the proofs of the greatness of this disc is that it's over 70 minutes long, and I never feel like it's dragging or that I wish it were over. And I can listen to it repeatedly and consistently find new gems.

My only quibble, and it's a really minor one, is that I'd like to hear Jim Black on all the cuts. On the two that feature him, he's such a strong presence that he brings things to a new level. Don't get me wrong; Brian Blade is no slouch. Indeed, he's one of the very best of the younger jazz drummers (and he particularly shines on "New York Nature," which also features a killer Adam Rogers guitar solo).

In a year of literally dozens of astounding jazz releases, this one has to rank at or near the very top. It could very well end up being my favorite yet.

Being somewhat familiar with 6 works out of David Binney's oeuvre as a bandleader and 6-7 as a sideman/session musician, let me state upfront that the saxophonist-composer is yet to surpass the excellence demonstrated on this album, which belongs to the same cycle that features "Free to Dream" (1998, Mythology) and "Welcome to Life" (2004, Mythology). Not only that, but it also figures among the top ten modern jazz/postbop beauties of the last decade in my book. With the advantage of hindsight, it's safe to say all contributors, who were relatively unknown at the time of recording on 29-30 June, 2000, have since then proven their talent in various environments.

The music on "South" is arranged for a jazz sextet, with tenor saxist Chris Potter (solo #3, 6, 8) being the other hornman. The layered, multi-part compositions have enough space/air to breathe and paint vast musical vistas, while remaining intellectually engaging.
The highlights include: the two longest tracks, 'moment in memory' (#2) and 'leaving the sea' (#4), strong in ensemble sound as well as in smart improvisations from bandleader Binney, pianist Uri Caine (also #5, 8) and guitarist Adam Rogers (also #5, 7); the fast tempo, deconstructionist type of loud jazz called 'Von Joshua' (#5), with a virtuosic unison line and Rogers' trademark licks fired off in rapid succession; the more straightahead 'New York nature' (#7) is great at building tension, not the least due to Brian Blade's sensitively mindful drum work (here and throughout the set); and the solemnly elegiac title song (#11), in similar vein to the circular 'traveler' (#6), featuring a double bass solo from Scott Colley (also #2, 3 intro) and conjuring impressions of D. Binney's native state Florida -- perhaps those of the Everglades.

In sum, I couldn't agree more with what the liner notes have to say: "David Binney surprises us with the art of a melodic guide who pursues unfamiliar paths, and yet immediately gains the listeners' trust. His complex...compositions trigger a celebratory atmosphere and possess hymn-like quality, as in the canon-like opening piece Out Beyond Ideas. The transition between notation and innovation is artfully done on South, and it's a delightful contrast when after all the inclination towards structure the band suddenly launches into free collective playing, as in Tangles Outcome [#10]." Running time: 70.51 min. Emphatically recommended.
P.S. The CD was originally released in 2001, not in 2003 as one might be led to believe by the product description. For those who would have liked to hear Jim Black on not just two tracks (#5, 10), the good news is that he can be found aboard Binney's "Balance" (2002, ACT Music).

This is one of those recordings that is very good, but leaves you feeling that it could have been so much better. Binney is obviously quite a musical craftsman, and he has surrounded himself with other craftsmen for this session. Adam Rogers on guitar deserves special mention, for he helps bring the music to life with his imaginative playing. But I do find myself agreeing with the reviewer who expressed the wish that Jim Black could have been the drummer on all the cuts, not just a couple. Make no mistake, Brian Blade is a superlative drummer, and I am not knocking him at all when I say that Black's energetic playing helps bring more spark of energy to those cuts in which he appears.

Somehow, this music strikes me as just a bit too serious, just a bit too tightly wrapped for its own good. It is as though the musicians are in a sense are bearing down just a little too hard rather than relaxing a little and just letting the music ebb and flow. The end result is jazz that you can respect, but not quite love. It just does not quite make you want to listen to it over and over again.