Great 4-star review on this popular Italian website. Heres the translation: The Jazz at Lincoln Center Orchestra has, since 1988, the most important jazz orchestra of the world, as well as one of the most important breeding ground for talent that weve ever seen, and Sean Jones, trumpeter has established itself internationally, which expresses JALCO in full spirit and inspiration, it is a classic example. Native of Warren (Ohio 1978) is currently a professor and has recently left Pittsburgh to teach at the Conservatory in Oberlin. Of course, he firmly believes in the importance of tradition in music; to know and love, deeply, the past and all the wonders that were produced many years ago is considered, by artists like Sean Jones, simply essential to be counted, at all right, between jazz musicians. (...) If the production like leader of Jones has in the past suffered from a certain stylistic exuberance, perhaps also with a view to distance itself from the shadow of his friend Wynton Marsalis, leading him to create works not unforgettable, with many guests, many singers and small slips commercial in respect of the whole album anyway, here with his seventh work for the excellent Mack Avenue sweeps each question, in a sense, it clears the past and is the same trumpeteer to declare: All my previous albums are were products with overdubs, etc.. this time we are only four of us in a room, no barrier between us and all in direct ... Whereas with this statement Im.Pro.Vise as a kind of re-presentation of himself to the public, the head of a combo with a solid music that is just as, advanced-mainstream, direct and sincere, with a playlist ballistically perfect to exalt even the fluent writing skills. The quartet worked with great intensity and empathy, finding in the pianist Orrin Evans -al his fourth work with Jones- a champion able to break the mold, introducing echoes of visionaries and give depth to the phrasing inspired in support of the leader, as in bluish Dark Times gorgeous theme, suspended by the movements, with distant echoes of miles davis. If the opening track 60th & Broadway is somehow tied in glove experience with Lincoln, in Interior Motive the trumpet of Jones wonders and sudden telling explicitly as if we were in the middle of an informal session of psychoanalysis in a barber-shop; in the ballad The Morning After, another evocative title, it still enhances the understanding between pianist and trumpeter while the canon I Do not Give a Damn Blues works pretty damn well and highlights, in a club atmosphere, the extreme elegance of rhythm that stands out the trusty drummer Obed Calvaire, as well as enjoying the delicious version of how High The Moon performed with the sly, and with references to Diz. Absolutely worthy of note are the original Orrin Evans Do not Fall Off the Lej as well as the repechage of an old warhorse Jackie McLeans Dr. Jekyll introduced by a clear bass solo by Luques Curtis, but as you will understand is the entire album to get ... The weir is entrusted to a fine ballad for piano and trumpet, a song beloved among others, Barbara Streisand and Kurt Elling, adapted from the 1979 musical Sweeney Todd - the Demon Barber of Fleet Street, and the poignant words of the song (Demons ll charm you with a smile / For a while / But in time nothings gonna harm you / Not while Im around ... ) seem to hover at the end of the record that reveals the new guidelines of the Sean Jones quartet, who we unreservedly recommend. RATING: ****
Posted on: Fri, 29 Aug 2014 15:59:51 +0000
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