On parade in Parede
| On parade in Parede | ||||
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| Studio album by Harris Eisenstadt Canada Day Quartet | ||||
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Publication |
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| Label (s) | Clean Feed Records | |||
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Format (s) |
CD |
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Title (number) |
11 |
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running time |
47:16 |
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| occupation |
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Harris Eisenstadt |
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Studio (s) |
Smup Parede, Lisbon |
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On Parade in Parede is a jazz album by the Harris Eisenstadt Canada Day Quartet. The recordings made on April 30th and May 1st, 2016 in the Smup Parede Studio, Lisbon, were released in March 2017 on Clean Feed Records .
background
“On Parade in Parede” was recorded when Eisenstadt and his quartet with trumpeter Nate Wooley , saxophonist Matt Bauder and double bass player Pascal Niggenkemper played a series of concerts at SMUP, a small venue in Parede, during their European tour in spring 2016 , a bathing beach near Lisbon. The location also inspired the title of the album. After Eisenstadts and his “flagship ensemble” had released five recordings in the previous decade, four of them with a quintet ( Canada Day , Canada Day II , Canada Day III and Canada Day IV ) and one with an octet ( Canada Day Octet ), this was the one very first quartet recording by Canada Day.
Track list
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- Harris Eisenstadt Canada Day Quartet: On Parade in Parede (Clean Feed CF413CD)
- Innuendo Is Nobody's Friend 5:33
- Sometimes You Gotta Ask for What You Want 5:04
- A Fine Kettle of Fish 5:27
- We All Ate What We Wanted to Eat, Parts 2 & 5 10:50
- Sympathy Batters No Parsnips 5:01
- We All Ate What We Wanted to Eat, Parts 3 / She Made Old Bones 9:55
- We All Ate What We Wanted to Eat, Part 1 5:26
- All compositions are by Harris Eisenstadt.
reception
According to John Sharpe, who awarded the album with the highest rating of five stars in All About Jazz , the album represented a kind of critical turning point in Eisenstadt's career, in which he downsized his Canada Day ensemble to quartet format, and it was no surprise either that the band seems so well oiled in the middle of a European tour. Transitions like “We All Ate What We Wanted To Eat, Part 3 / She Made Old Bones” appear seamless and “merge into a drums / tenor saxophone exchange, followed by an exciting trumpet / saxophone interplay that results in a panting A -Capella couple and a lyrical but adventurous bass excursion ends. "All in all, Eisenstadt stands for a remarkable collective excellence, the author sums up," which is illuminated by flashes of individual brilliance. "
Stuart Broomer (The Whole Note) said that among Eisenstadt's numerous ensembles, Canada Day was “perhaps the most traditional and also the loosest: Its sprung rhythms (suggesting African and Latin American roots) and truncated themes are reminiscent of the early music of Ornette Coleman , while the individual and collective voices of the band sound as if they were just being invented. ”It is probably easiest to point out moments of individual invention, the author wrote, like Wooley's solo in“ We All Ate… Part 2 ”and Part 5, but it does Also gives the moment in "Sympathy Batters No Parsnips" when Bauder's advanced techniques reach their climax, only to let Wooley enter with a drizzle of brass-like sound, the trumpet as a generator for white noise, multiplies the already high density the music. While individual highlights are often brilliant, it is the collective invention and precision of the group that is most impressive, from the composite pulsation worked out by Eisenstadt and Niggenkemper in “We All Ate ... Part 3” to the final immediate ensemble stop in Part 1 One could argue about the category of this music, but whatever it is, Broomer sums up, "this is the state of the art."
According to Bill Meyer (Dusted), Eisenstadt's title, which he has chosen for his compositions, translates as “ Innuendo is nobody's friend” and “Sometimes you have to ask for what you want” for direct and honest communication, the rest of the titles deal with food. Since this record was recorded during a tour of Portugal, it is important that Meyer interprets this choice of title when you are out and about to get along with each other and to eat well. But jazz has always been music, according to the author, “in which the behavior and behavior of its fellow players as well as explicit and implicit messages were used to clarify points. When people from different countries find a common creative basis and deal with the fact that everyone gets what they need, good things happen. "
Paul Serralheiro wrote in SquidsEar that the compositional style of the material is sometimes reminiscent of Ted Sirota , another drummer-composer. That makes for very swinging music, but music that also needs time for nuances. This nuance is the result of a mixture of advanced techniques and melodic, lyrical play, getting into the subject and moving the music forward. The author particularly emphasized "Sympathy Barters No Parsnips", which begins with a long sequence of softly smeared trumpet tones and develops into a state-of-the-art trumpet solo in which Wooley works with the variety of sounds. Also noteworthy is the crisply interrupted “We All Ate What We Wanted to Eat, Parts 3” and the soulful final track “Part 1”.
Web links
- Listing of the album on Allmusic (English). Accessed January 1, 2020.
- Information about the album at Clean Feed
Individual evidence
- ^ Harris Eisenstadt Canada Day Quartet: On Parade in Parede at Discogs
- ^ John Sharpe: Harris Eisenstadt: On Parade In Parede. All About Jazz, August 19, 2017, accessed May 15, 2020 .
- ↑ Stuart Broomer: Harris Eisenstadt: On Parade In Parede. The Whole Note, May 6, 2019, accessed May 15, 2020 .
- ^ Bill Meyer: Harris Eisenstadt: On Parade In Parede. Dusted, March 1, 2017, accessed May 15, 2020 .
- ↑ Paul Serralheiro: Harris Eisenstadt: ON pqrade in Parede. Squidsear, September 27, 2017, accessed May 18, 2020 .