Wandering Moon

Terence Blanchard | Format: Audio CD

Product Details

• Audio CD (February 15, 2000)
• Original Release Date: February 15, 2000
• Number of Discs: 1
• Label: Sony
• ASIN: B00004HYOA
• In-Print Editions: MP3 Download
• Average Customer Review: 4.5 out of 5 stars  See all reviews (11 customer reviews)
• Amazon Best Sellers Rank: #103,868 in Music (See Top 100 in Music)

Editorial Reviews

Amazon.com

Terence Blanchard emerged as a young lion in the 1980s along with his New Orleans homeboy and fellow trumpeter, Wynton Marsalis. Blanchard released several recordings with Donald Harrison and scored a few soundtracks, including Spike Lee's Mo' Better Blues and Malcolm X. This splendid album follows his film music tribute, Jazz in Film, and returns Blanchard to the straight-ahead fold. With an even singing and swinging tone, Blanchard is backed by drummer Eric Harland, pianist Ed Simon, and newcomer alto and tenor saxophonists Brice Winston and Aaron Fletcher. The legendary bassist Dave Holland anchors the bottom and ensures the grooves. Blanchard's melodically compelling compositions range from the mystical moods of "Luna Viajera" and "Sweet's Dream" (an elegy to the late trumpeter Harry "Sweets" Edison) to the uptempo "Sidney's Song" (for clarinetist Sidney Bechet), which recall's Blanchard's days with Art Blakey's Jazz Messengers. On board for Wandering Moon is another Jazz Messenger alumnus, tenor saxophonist Branford Marsalis, who displays his Wayne Shorter/John Coltrane solo signature on the '60s-style tunes "If I Could, I Would," "My Only Thought of You," and "Joe & O." On the standard "I Thought About You," Blanchard takes center stage with an ebullient trumpet voice that rings from the silver screen to the bandstand. --Eugene Holley, Jr.

From Jazziz

With last year's Jazz in Film, Terence Blanchard celebrated jazz-based movie themes, a legacy he's contributed to mightily during the past decade or so. But the storyline for Wandering Moon, Blanchard's second release for Sony Classical, lies even closer to home - and it turns out to be even more compelling. Here, the action revolves around Blanchard, the trumpeter, composer, and small-group leader. It's a script that's been "in development," as the movie folks say, for nearly two decades, and as conveyed in this tidy, 10-track package, it's the kind of considered, genuine, and deeply layered presentation to which more Hollywood creations should aspire.

Blanchard moved to New York from New Orleans and rose to notoriety in the 1980s. His burgeoning film-scoring career took him to the West Coast for a good bit until his longing for home returned him to New Orleans full-time. Meanwhile, Blanchard never stopped writing for his small groups or leading tours.

All that explains, in part, why Blanchard's first straightahead album of original compositions in some five years sounds so complete, so balanced, and so well-worked-out. His fine band includes his longtime partner, pianist Edward Simon; two young saxophonists of noteworthy elegance and maturity, altoist Aaron Fletcher and tenorist Bryce Winston; and drummer Eric Harland, one the most impressive of a fresh wave of young, jazz trapsmen. And the plot reunites Blanchard with saxophonist Branford Marsalis, a childhood friend whose musical coming-of-age paralleled the trumpeter's own. It also brings into the fold bassist Dave Holland; Blanchard and Holland's paths crossed some in New York back in the early '80s, when the whiff of experimentalism that characterized Holland's work was largely absent from jazz's landscape.

One key to this album's success is something Blanchard might have picked up as easily in Hollywood as in New Orleans or New York: He tells stories that draw us in and then reward us with satisfying tensions, interesting voices, timely climaxes, and believable resolutions. These qualities, more than any structural decisions or technical achievements are what elevates the music.

Holland's presence enriches each tune in an essential manner. Blanchard likes to create strong unison horn lines, undergirded by contrapuntal bottom lines; the strength of Holland's tone and his well-honed sense of time maximize the contrast and suspense written into the music. This is especially true on "Luna Viajera," the disc's opening track.

"If I Could I Would" draws equally from Art Blakey's hard-bop legacy and Ornette Coleman's freer-flowing aesthetic. Harland's deft shifts of emphasis within a consistent groove propel the two-tiered action. Marsalis solos especially effectively, first filling the air with melodic fragments, then winnowing these phrases into essential gestures. Where Marsalis and Blanchard solo with fire and fury, pianist Simon creates a gentle midsection, one the listener could not have anticipated.

Blanchard doesn't alter his tone one bit for "Sweet's Dream," a tribute to the late Harry Edison. But the whole band evokes Edison's style - all rounded edges, soft glows, and judicious note choices. Here and elsewhere, it's apparent how carefully Blanchard has honed the curls and slurs of his New Orleans trumpet heritage into wholly owned aspects of his musical personality - they serve as narrative devices to frame emotion more than as technical implements. "Sidney," named for the legendary New Orleans' soprano saxophonist and clarinetist Sidney Bechet, leans into a groove too modern for Bechet's day and with little literal suggestion to its namesake until a closing fadeout of polyphonic exchanges.

That's fitting because this body of work is about Blanchard's vision. Marsalis does some of his finest soloing to date, featured as well on the angular, uptempo "Joe and O." Fletcher and Winston advance their own voices with distinction. Holland takes a minute-plus, typically wise and woody solo track. And Blanchard's tone gleams and growls throughout, especially on a closing take of "I Thought About You," the program's only standard. But in the end, it's the shifting colors and rhythmic interplay of the entire group that captivates most of all. Blanchard's tunes form a compelling script. He's found a fine chemistry of players. That said, it's the cinematography and editing that keep us in our seats and leave us satisfied.

REVIWER: Larry Blumenfeld, JAZZIZ Magazine Copyright © 2000, Milor Entertainment, Inc.

Customer Reviews

Most Helpful Customer Reviews

10 of 10 people found the following review helpful:

4.0 out of 5 stars subtle power, May 12, 2000

By 

Rob Watkins (Augusta, Georgia United States) - See all my reviews
(REAL NAME)   

This review is from: Wandering Moon (Audio CD)

mr. blanchard returns to the format in which he first came to prominence as a "young lion" in the mid-1980s along with the brothers marsalis, donald harrison, et al. during that time the approach was neo-bop, featuring fast and furious soloing, complex charts, and a complete disdain for all things smooth or electric. here, the tone has shifted, becoming more cool, in a miles davis sense, with greater emphasis placed on developing moods and atmosphere. the playing is first rate, with mr. blanchard giving us a wide range of the trumpet's tonal palette. without using a mute, he creates the same sultry mood and feel, particularly on the opening track. the ballads are silky, and the interplay within the band is excellent. dave holland makes a great guest appearance on bass, and the presence of branford marsalis continues to whet the appetite for more releases from him. for a relaxed, but depthful session, give this a listen. as good as mr. blanchard's film music has been, this is a great reminder of his straight ahead jazz chops.

9 of 10 people found the following review helpful:

5.0 out of 5 stars Dark and lonely sensous romanticism, March 31, 2000

By 

THOMAS GUTIERREZ JR (OCEANSIDE, CALIFORNIA United States) - See all my reviews

This review is from: Wandering Moon (Audio CD)

The lonelyness of the heart creates many images and yet touches the core of our being. Terence caresses this with a outing of superb lonely romance dwelled in modern hipness. The feel I get is, Herbie Hancock , Wayne Shorter 60s Blue note ventures. The side musicians blend and enhance Terences strong and longing playing. Edward Simon is stunning as usual in both his solos and comping. For anyone who loves pure Jazz with a classical suite enhancement, with all the hipness of the present, without the cliches of traditional Jazz, this is your cd. Adding,Terence playing is flawless and passionate as any great trumpet player, alive or deceased. A must for any true Jazz fan. 5 Stars

5 of 5 people found the following review helpful:

5.0 out of 5 stars Ignore 1 star review, May 2, 2005

By 

Music Lover "Sam" (Vancouver, BC, Canada) - See all my reviews

This review is from: Wandering Moon (Audio CD)

Ignore the 1 star reviewer. Jazz obviously isn't a mainstay of their musical palette and you have to take their opinion in that light. This person was looking for something they listened to on a movie soundtrack and so was disappointed to hear the real thing - duh. I too was in that state of ignorance once so I shouldn't criticize too much. Developing a taste for jazz, like fine wine, is something comes with time and can't be rushed. Buy this CD, it is simply brilliant and someday the critic will become the fan.