Blue Wail
| Blue Wail | ||||
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| Studio album by Uri Caine | ||||
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Publication |
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| Label (s) | Winter & winter | |||
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Format (s) |
CD |
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Title (number) |
11 |
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running time |
62:25 |
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| occupation | ||||
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Stefan F. Winter , Uri caine & Joe Ferla |
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Studio (s) |
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Blue Wail is a jazz album by Uri Caine . It was recorded on December 1st and 2nd, 1997 and was released in 1999 on the Winter & Winter label .
The album
The jazz pianist and composer Uri Caine made a name for himself in the 1990s with a number of different projects in the New York downtown scene, including a. with the trumpeter Dave Douglas , in which he brought his Jewish origins, his classical and jazz education and his interest in electronic music. In the late 1990s, Caine released two albums on the Winter & Winter label with Mahler ( Urlicht / Primal Light ) and Wagner adaptations ( Wagner e Venezia ); In 1999 the trio album Blue Wail followed , in which he also dealt with the jazz tradition. With his trio with bassist James Genus and drummer Ralph Peterson Jr. Uri Caine recorded nine original compositions in late 1997; they are framed on the album by two versions of the Fats Waller classic " Honeysuckle Rose ".
In the title track, the blues "Blue Wail", Caine used "artful motifs from different genres", according to the critic Glenn Astarita; so from Professor Longhair , New Orleans offshoot of rhythm and blues , coupled with one or two choruses with dissonances and free jazz . Despite these approximations and manipulations, however, Caine rarely leaves the melody lines.
Caine usually plays his pieces at a brisk pace, in "Loose Trade" the pianist leads the rhythm group through different tempos and chromatic progressions . In “Bones Don't Cry” a Latin theme, drummer Peterson fiery beats the cymbals, plays a lot of rudiments and astonishingly fast the bass drum .
Astarita regards Ralph Peterson Jr. as the contemporary link between Art Blakey and Elvin Jones ; he is a “polyrhythmic dynamo” and “an inspiration” for his band members, as he “leads them into a high-energy interplay and furious swing episodes”.
Uri Caine dedicated his album to the Russian actor Vladimir Sokoloff and the jazz trumpeter Johnny Coles .
Rating of the album
The critic Glenn Astarita wrote of Caine's album in All About Jazz that it was "a highly recommended work"; Pianist-composer Uri Caine is “currently one of the leading and most authentic stylists in jazz”. After having successfully dealt with classics such as Gustav Mahler and Richard Wagner, he is now integrating and conceptualizing his own personal point of view. Caine is rediscovering her roots on Blue Wail with Ralph Peterson Jr. and James Genus.
In his review at Allmusic , David Adler , who awarded the album with 41/2 stars and thus one of the highlights in Caines œuvre to date , emphasizes the achievements of the rhythm section consisting of bassist James Genus and drummer Ralph Peterson, Jr.; regardless of whether they are fast ("Loose Trade", "Digature of the Line", "Stain", "Fireball", "Bones Don't Cry"), in medium ("Sweet Potato"), or at slow speed (" Blue Wail ") played," Caine and his two partners impose every note with an extraordinary blues feeling and a rich swing groove "; however, the album is not one of those straight-ahead piano trio releases. Rather, Caine “gives this form a motivational boost for these sophisticated compositions, each of which has its surprises in store. All in all, Blue Wail is an aggressive, red-hot album that also reveals gentler moments, such as “The Face of Space” and “Poem for Shulamit”, a rubato track with great moments of silence ”. Fats Waller's Honeysuckle Rose, the only non-original in this session, gives Caine an opportunity for inspired solo performances.
In the opinion of the critic C. Michael Bailey, Blue Wail is at most a "sober post bop piano trio gig if it weren't for Uri Caine's enormous talent and musicality" at first listening . Uri Caine gives a glimpse of what's to come with his two solo renditions of "Honeysuckle Rose". This is how it starts with “Loose Trade”, which is “a vehicle for seditious drumming” by Ralph Peterson Jr. The title track "Blue Wail" provides a reference to Caine's idea of the blues; the piece is "jam-packed with old ideas that are being refreshed by the musicians". Bailey feels reminded of Miles Davis ' interpretation of the old song "Baby, Won't You Please Come Home" in 1963.
Richard Cook and Brian Morton elaborate on Caine's compositional style in their review of the album they awarded the second highest rating; Although he plays very much in the American song tradition, he is also strongly influenced by European classicisms. While “Bones Don't Cry” and the title track are very much determined by the feeling for the blues, Caine explores tonalities in “Digature of the Line” and “The Face of Space” that would normally not play a major role in jazz. “Sweet Potato” and “Blue Wail” would give Ganus and Peterson enough space to express themselves; Most of the pieces are "concise, tightly structured and sound fully composed".
The titles
- Winter & Winter 910 034-2
- Honeysuckle Rose {Fats Waller}
- Loose trade
- The Face Of Space
- Digature Of The Line
- Blue Wail
- Stain
- Sweet potato
- Bones Don't Cry
- Poem For Shulamit
- Fireball
- Honeysuckle Rose {Fats Waller}
All other compositions are by Uri Caine.
Web links
Individual evidence
- ^ A b c Glenn Astarita: Review in All About Jazz
- ↑ Blue Wail at Allmusic (English)
- ^ C. Michael Bailey: Review of the album in All About Jazz
- ^ Richard Cook , Brian Morton : The Penguin Guide to Jazz on CD . 6th edition. Penguin, London 2002, ISBN 0-14-051521-6 .