Most Helpful Customer Reviews
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26 of 27 people found the following review helpful:
4.0 out of 5 stars
Excellent., May 8, 2008
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
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7 of 7 people found the following review helpful:
5.0 out of 5 stars
Another wonderful cornerstone from the Fellowship, May 15, 2008
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.
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7 of 8 people found the following review helpful:
3.0 out of 5 stars
Nice But Not The Cat's Meow, September 13, 2008
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.
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