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Tomeka Reid Quartet

4.5 out of 5 stars 29 ratings
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Audio CD, September 25, 2015
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Track Listings

1 17 West 3:07
2 Etoile 8:38
3 Billy Bang's Bounce 4:42
4 Improv #1 1:17
5 Glass Light 5:37
6 Woodlawn 6:02
7 Super Nova 4:50
8 The Lone Wait 6:22
9 Samo Swing 3:02
10 Improv #2 2:53

Editorial Reviews

Thirsty Ear would like to congratulate Tomeka Reid, Jazz Cellist and Composer, as a Fellow for the 2022 MacArthur Genius Award. Over the last decade or so Chicago cellist and composer Tomeka Reid has emerged as one of the most original, versatile, and curious musicians in the city's bustling jazz and improvised music community. Her distinctive melodic sensibility, usually braided to a strong sense of groove, has been featured in many distinguished ensembles over the years. She's been a key member of ensembles led by legendary reedists like Anthony Braxton and Roscoe Mitchell, as well as a younger generation of visionaries including flutist Nicole Mitchell, singer Dee Alexander, and drummer Mike Reed. She's also a founding member of the adventurous string trio called Hear in Now, with violinist Mazz Swift and bassist Silvia Bolognesi, but until now Reid had yet to release a recording where she's the bandleader. That all changes with the eponymous recording by the Tomeka Reid Quartet, the lively, charged debut album from her remarkable ensemble a vibrant showcase not only for the cellist's improvisational acumen, but also her knack for dynamic arrangements and her compositional ability.

Product details

  • Product Dimensions ‏ : ‎ 4.88 x 5.59 x 0.47 inches; 2.82 Ounces
  • Manufacturer ‏ : ‎ Thirsty Ear
  • Item model number ‏ : ‎ 0700435721029
  • Original Release Date ‏ : ‎ 2015
  • Date First Available ‏ : ‎ August 4, 2015
  • Label ‏ : ‎ Thirsty Ear
  • ASIN ‏ : ‎ B013D10GQA
  • Country of Origin ‏ : ‎ USA
  • Number of discs ‏ : ‎ 1
  • Customer Reviews:
    4.5 out of 5 stars 29 ratings

Customer reviews

4.5 out of 5 stars
4.5 out of 5
29 global ratings

Top reviews from the United States

Reviewed in the United States 🇺🇸 on April 17, 2016
12 people found this helpful
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Reviewed in the United States 🇺🇸 on April 28, 2021
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3.0 out of 5 stars Cracked CD case - bad shipping of good music
By MCD on April 28, 2021
The CD was shipped in an envelope that had no padding and the CD case has a large crack across it. The photo doesn’t really show it too well but the plastic case is not going to last very long. Good music but terrible packaging.
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Reviewed in the United States 🇺🇸 on May 7, 2019
One person found this helpful
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Reviewed in the United States 🇺🇸 on October 22, 2015
18 people found this helpful
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Reviewed in the United States 🇺🇸 on September 27, 2017
2 people found this helpful
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Reviewed in the United States 🇺🇸 on May 20, 2016
Reviewed in the United States 🇺🇸 on May 31, 2016
6 people found this helpful
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Reviewed in the United States 🇺🇸 on October 4, 2016
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Top reviews from other countries

Martyn
5.0 out of 5 stars very good
Reviewed in the United Kingdom 🇬🇧 on February 11, 2016
One person found this helpful
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AdrianC
5.0 out of 5 stars absorbing set - (ie very good)
Reviewed in the United Kingdom 🇬🇧 on March 20, 2016
dbmsonic
4.0 out of 5 stars AVVINCENTE E SORPRENDENTE, in equilibrio tra sensibilità cameristica ed estetica post-free
Reviewed in Italy 🇮🇹 on May 4, 2022
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4.0 out of 5 stars AVVINCENTE E SORPRENDENTE, in equilibrio tra sensibilità cameristica ed estetica post-free
Reviewed in Italy 🇮🇹 on May 4, 2022
Datato 2015, un vero gioiellino del jazz contemporaneo nella sua espressione post-free e debutto discografico per questo quartetto di originale concezione imperniata sostanzialmente sui due blocchi costituiti dalla leader al violoncello e dalla talentuosa chitarrista Mary Halvorson come strumenti solisti affiancati per la ritmica da Jason Roebke al basso e da Tomas Fujiwara alla batteria. Ne risulta una musica d’avanguardia in senso ampio (il riferimento è la scuola di Chicago, quella – ma non solo - dell’AACM) e perfino “sperimentale” (vedi qui le due «Improv #1 e #2») senza però essere mai irritante. L’album andrebbe goduto tutto d’un fiato, lasciandolo fluttuare senza soluzione di continuità, ma volendo entrare nello specifico già la prima traccia - la dolphyana «17 West» - chiarisce subito i termini del dialogo tra chitarra e violoncello, dove la propensione più “spigolosa” della nostra Tomeka si attenua nel confronto con le armonizzazioni relativamente tradizionali di Halvorson, per poi liberarsi nelle accattivanti melodie di «Etoile» (forse il brano più bello dell’album) o nel groove di «Billy Bang’s Bounce» e di «Super Nova». Ricorderei ancora le atmosfere sobrie e intimiste di «The Lone Wait» e di «Glass Light» (sullo sfondo, per contrasto, un militaresco rullare di tamburo) mentre in «Samo Swing» c’è la chitarra della Halvorson in virtuosistica evidenza. Salvo il già citato richiamo a Eric Dolphy, tutti gli altri pezzi sono splendide composizioni della Reid che ci regala un lavoro avvincente e sorprendente, in equilibrio tra sensibilità cameristica, jazz classico ed estetica post-free. Per la parte musicale dunque un disco consigliatissimo. Più debole la parte grafica, che è scarna - ma sufficiente - nelle informazioni tecniche e invece fin troppo essenziale riguardo alle immagini illustrative, le quali non vanno oltre l’evocazione in copertina di uno spinoso percorso tra i rovi, il che - per quanto detto sopra- nemmeno corrisponde alla realtà dell’ascolto. E allora, pazienza per le immagini e godiamoci la musica.
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Ian Thumwood
5.0 out of 5 stars The Billy Bang of the cello
Reviewed in the United Kingdom 🇬🇧 on January 10, 2016
One person found this helpful
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Meinolf Reul
5.0 out of 5 stars Jazzcello
Reviewed in Germany 🇩🇪 on December 8, 2021