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Tomeka Reid Quartet
|1||17 West 3:07|
|3||Billy Bang's Bounce 4:42|
|4||Improv #1 1:17|
|5||Glass Light 5:37|
|7||Super Nova 4:50|
|8||The Lone Wait 6:22|
|9||Samo Swing 3:02|
|10||Improv #2 2:53|
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 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
- Best Sellers Rank: #24,450 in CDs & Vinyl (See Top 100 in CDs & Vinyl)
- Customer Reviews:
Reviewed in the United States on April 28, 2021
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Reid incorporates her instrument into the jazz tradition, plain and simple. She's a player of great skill, finesse and sensitivity. You have to hear her to really understand just how well she fits into the jazz genre. Helped along by a rhythm section of double bassist Jason Roebke, drummer Tomas Fujiwara, and guitarist Mary Halvorson (whose albums as a leader mark her as a jazz guitarist to watch), Reid (who composed all the tunes but one) is an exciting find in the world of today's jazz. No matter if she's soloing or adding the sounds of the cello into the group sound, she stands (well, sits) deep in the jazz "thing".
This is a set of melodic yet modern jazz arrangements. Halvorson gets a chance to step up to the front and her solos are straight out of the jazz tradition. She's a good foil for Reid--listen to "Billy Bang's Bounce" (named for jazz violinist Bang) which does have strains of Bang's sound. "Improv #1" (by Reid/Halvorson) is just that, where they venture further afield from more straight ahead jazz, but the piece never loses itself to outside jazz sounds--keeping a rhythm underneath their playing on this short piece. "Glass Light" is a beautiful tune with Reid's cello out front and the drums and guitar (especially) supporting her nicely. This quiet, open tune adds depth to the other more modern be-bop sounding (yes) tunes on the album. This tune especially gives up continual rewards with repeated listening. Likewise "The Lone Wait", with some sensitive playing by drummer Fujiwara (especially) and bassist Roebke propelling things along. Both Reid and Halvosron get in some good licks that keep your attention--listen to the guitar/cello towards the end of this fine tune.
"Woodlawn" is yet another great composition with both Reid and Halvorson out front with the rhythm section giving them solid backing. Reid gets off a particularly nice solo here and when Halvorson plays in unison with Reid's cello towards the end of the tune, makes this another highlight. And right here I have to say that having a bass/drums team like this is extremely important in keeping everything together musically. They continually keep things grounded in more traditional sounding jazz, letting Reid and Halvorson free to roam through the tunes.
I only wish that more jazz fans would pick up on this album. It's full of melodic yet modern jazz. Reid is influenced by both traditional jazz and what the AACM has been doing for years now. But don't let the AACM association scare or fool you. Halvorson plays it pretty well straight down the line here, and Reid never gets all atonal and far away from traditional jazz--her cello at times sounding like a violin (shades of Bang). This is a set of beautifully arranged and played jazz. The quartet setting is perfect for Reid and the rest of the group to bring these tunes to life. A fine first album.
By MCD on April 28, 2021
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Experimental without being jarring, it sets up a variety of nice rhythms over the top of which we get some quality improvisation.
Already a favourite in my growing jazz collection.
Reviewed in Italy 🇮🇹 on May 4, 2022
The opening track is the most boppish of the numbers but Halvorson and Reid are soon scrambling over each other in the solos to place the music in to the more avant garde category. That said, the up-tempo numbers benefit from an almost old-fashioned sense of swing and the robustness of the music lends an authenticity to the music which I really enjoyed. Halvorson is a strange soloist, relishing in unusual tunings which make her sound like Philip Catherine gone bad and sometimes picking out lines that recall Jim Hall. For all her avant garde leanings and reputation, her playing is surprisingly informed by bop and the more extreme elements of this record are unlikely to put off anyone unsure about the record. However, this is very much Reid's record and her solos mix picking and bowed techniques so that there sometimes sounds like there is an additional soloist. If Billy Bang has played cello and not violin, he would have sounded like Tomeka Reid and, to my ears, this is a really good thing. There is even a track called "Billy Bang's bounce."
Despite the originality of the soloists and a committed rhythm section the real ace up the sleeve on this record are the compositions. "Etoile" is one of the most attractive themes I have heard on a jazz record for ages and the "Glass light" and "Woodlawn" are similarly impressive. The slower, more considered pieces are the ones that catch the attention and the two improvisations work as brief and contained dialogues. This is a good record and whilst the guitarist might be the curved ball that steers the music towards the more adventurous end of jazz, in Tomeka Reid's hands the cello seems like a natural jazz instrument. Her affinity towards the kind of jazz that feels compelled to swing coupled with a deft hand with the pen and manuscript marks this out as yet another strong record from the burgeoning Chicago scene.
Neben T.R. spielen Mary Halvorson, Gitarre, Tomas Fujiwara, Schlagzeug, und Jason Roebke, Bass.