Jorge Rossy / Puerta (feat. Robert Landfermann & Jeff Ballard)
Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2021
Жанр: Post-Bop, Contemporary Jazz
Издатель (лейбл): ECM Records
Продолжительность: 00:54:11
Наличие сканов в содержимом раздачи: Только обложка альбома
Треклист:
1. Post-Catholic Waltz (06:15)
2. Taínos (06:07)
3. Adagio (04:47)
4. Maybe Tuesday (08:01)
5. Cargols (04:34)
6. Scilla E Cariddi (05:43)
7. Puerta (03:54)
8. S.T. (05:54)
9. Ventana (04:21)
10. Adiós (04:35)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/96
Формат: PCM
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.6.8 beta 6 / Dynamic Range Meter 1.1.1
log date: 2021-11-04 19:06:49
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Analyzed: Jorge Rossy, Jeff Ballard & Robert Landfermann / Puerta (1-2)
Jorge Rossy, Robert Landfermann & Jeff Ballard / Puerta (3-10)
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DR Peak RMS Duration Track
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DR14 -2.41 dB -23.22 dB 6:16 01-Post-Catholic Waltz
DR15 -5.00 dB -21.82 dB 4:21 09-Ventana
DR17 -5.37 dB -28.93 dB 6:07 02-Taínos
DR14 -5.66 dB -24.18 dB 4:47 03-Adagio
DR15 -2.66 dB -22.86 dB 8:01 04-Maybe Tuesday
DR14 -7.97 dB -27.03 dB 4:35 05-Cargols
DR13 -6.65 dB -23.89 dB 5:44 06-Scilla e Cariddi
DR12 -8.84 dB -27.02 dB 3:55 07-Puerta
DR15 -2.17 dB -21.75 dB 5:55 08-S.T.
DR14 -5.32 dB -24.29 dB 4:35 10-Adiós
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Number of tracks: 10
Official DR value: DR14
Samplerate: 96000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 2487 kbps
Codec: FLAC
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Об исполнителе (группе) https://www.allmusic.com/artist/jorge-rossy-mn0000263814/biography
Artist Biography by Thom Jurek
Jorge Rossy is an influential Catalonian jazz drummer, pianist, vibraphonist, and marimbist. His precise, fluid touch on the drum kit has graced hundreds of recordings by artists ranging from Brad Mehldau and Ethan Iverson, to Mark Turner and Kurt Rosenwinkel, to name a scant few. Further, his résumé as a first-call touring sideman includes work with artists as diverse as Woody Shaw, Charlie Haden's Quartet West, and Joe Lovano. Rossy and his bass-playing brother Mario Rossy made their debut as co-leaders with Mehldau on 1993's When I Fall in Love, billed to the Mehldau & Rossy Trio. He joined the pianist's trio in 1995. Rossy is a formidable composer and leads an all-star vibes and marimba quintet. Their debut, 2015's Stay Here and 2018's Beyond Sunday, won critical notice across the globe. In 2020, Rossy played drums with pianist Enrico Pieranunzi and bassist Jasper Somsen on the widely celebrated trio offering Common View.
Born in Barcelona in 1964, Rossy began playing drums at age 11. He was formally educated in music composition and began a study of jazz pianists; he claimed they informed his sense of touch on the kit. Continuing to develop his skills through hours of daily practice, Rossy developed into a formidable jazz drummer by the time he was in high school, he was sought after by local and traveling jazzmen. Between 1980 and 1989, he worked live with a number of touring artists, including trumpeters Woody Shaw, Kenny Wheeler, and Jack Walrath. His love of the trumpet became a catalyst for study. In 1989 he moved to Boston to attend the Berklee School of music, where he majored in trumpet. He couldn't escape the drums, though -- nor did he wish to: Rossy became the drummer of choice for many of his peers. He joined pianist Danilo Perez's trio and toured the Caribbean, Latin America, and Europe. Upon return he subsequently joined the Paquito D'Rivera Sextet and remained for two years.
In 1991 Rossy and his brother Mario moved to New York City. He The drummer himself launched himself into the jazz scene early by working on the bandstand and in the studio with several of his Berklee classmates including saxophonists Mark Turner and Chris Cheek, and guitarist Kurt Rosenwinkel. In addition, he and Mario formed their own groups. Jorge won steady gigs accompanying younger bandleaders including Brad Mehldau, Ethan Iverson, Reid Anderson, and Avishai Cohen. In 1993, the Mehldau-Rossy Trio cut When I Fall in Love for Fresh Sound, followed almost immediately by the two-volume New York-Barcelona Crossing for the same label. The group was expanded into a quartet for these outings with the addition of tenorist Perico Sambeat.
In 1995, Rossy joined Mehldau's trio with bassist Larry Grenadier. He remained for 11 years, playing on all five Art of the Trio volumes, Largo, Anything Goes, and House on Hill. During his tenure with the pianist, Rossy branched out; he also toured and recorded with Joshua Redman, Mike Kanan, Ben Monder, and Ben Street, among others.
He moved back to Barcelona in 2000 and began to shift his focus to the piano, though he still worked mainly as a drummer. In 2003, he made his debut as a pianist on the Jordi Matas Quintet's All That Matas, and reprised it two years later on Racons. In 2006, Rossy returned to Fresh Sound, leading his own piano trio on the critically acclaimed Wicca with drummer R.J. Miller and organist Albert Sanz. Two years later he led a piano quintet on Iri's Blues for Moskito Records that included Miller, bassist Street, saxophonist Raffi Garabedian, and son Felix Rossy on trumpet and cornet.
Rossy played drums with Steve Swallow's quintet on Into the Woodwork, and later that year worked in pianist Ethan Iverson's quartet with Grenadier and saxophonist Lee Kontiz on Costumes Are Mandatory for High Note. Two years later, he served as vibraphonist and marimbist on Aphorism in collaboration with pianist Michael Beck and saxophonist Iri's Blues for Moskito Records that included Miller, bassist Street, saxophonist Raffi Garabedian, and son Felix Rossy on trumpet and cornet.
In 2016, Rossy released Stay There, the debut long-player by his marimba and vibes quintet. Its personnel included drummer Al Foster, Turner on tenor, Peter Bernstein on guitar, and bassist Doug Weiss. Later that year he reprised his role as a session drummer on Fox with electric guitarist Pierre Perchaud and bassist Nicolas Moreaux.
In 2018, Rossy returned to work with Landolf in a pianoless quartet. Entitled Off the Cuff, the set also featured tenorist Bill McHenry and double bassist Bänz Oester. He also issued Beyond Sunday for Jazz & People, the sophomore outing with his vibes and marimba quintet. It featured guitarist Jaume Llombart in place of Bernstein. In 2020, the drummer worked with pianist Enrico Pieranunzi and bassist Jasper Somsen on the widely acclaimed trio offering Common View for Challenge Records. That year he also played in guitarist Jakob Bro's trio with trumpeter/electronicist Arve Henriksen on the ECM album Uma Elmo. It saw release in February 2021.
Об альбоме (сборнике)
Jorge Rossy turns to vibraphone and marimba and delivers a trio set filled with momentous originals for his ECM leader-debut. Marked by their immediate melodic appeal, the vibraphonist’s lines are in lively interplay with his colleagues, Robert Landfermann on bass and Jeff Ballard on drums. After Jorge’s recent contribution on drums to Jakob Bro’s trio with trumpeter Arve Henriksen on Uma Elmo, the present line-up sees him focusing on his own music. On Puerta the Spaniard shines as he navigates a programme that proves him as much an eloquent composer as a powerful melodic voice.
Besides his work as a drummer, Jorge has a distinctive voice on the vibes, marimba and piano, and a unique sound as a composer and band leader. Since his first CD under his own name, Jorge Rossy Trio Wicca (Fresh Sound), recorded in 2006, Jorge has recorded over 30 albums as a band leader or co-leader, to critical acclaim from publications such as Jazz Times, Downbeat, Jazz Around, and All About Jazz.
In 2015, Jorge recorded Stay There (Pirouet), his debut recording as a vibes and marimba player, leading a truly stellar band. Since then, Jorge has toured and recorded with different configurations of his band the Jordi Rossy Vibes Quintet and several co-led projects, including Passport Quartet, Rossy & Kanan Quartet, Beck/Landolf/Rossy, Fox + Chris Cheek and Rossy & Vercher Quintet «Filantropía», among others. His second vibes quintet album Beyond Sunday (Jazz&People) came out in 2018 and his first vibes trio album, Puerta, will be released on ECM in November 2021. https://www.marlbank.net/posts/jorge-rossy-puerta-ecm
Jazz that is easy to digest and has a feelgood veneer to it need not be a cop out. Case in point Puerta. Underneath the interplay across this trio has a lot of detail and the subtle shifting of texture and pace is cleverly delivered. The main dynamic (you could argue the record could easily be a vibes and drum duo affair) is the sparring between vibes and drums and it's interesting that both Jorge Rossy and Jeff Ballard have a connection with that most magical of contemporary pianists Brad Mehldau.
Do the vibes and marimba replace the desire for piano? Ah, no. Because they operate in a different manner entirely and so you get more a chunky chime and scatter of colour than you do with the piano. Perhaps a better comparison is when you are listening to a Fender Rhodes prominent in a small group sound there is a completely different mood and while the Rhodes lends itself to funky elaboration and overt groove the vibes in Rossy's thinking are more painterly.
There is little darkness of mood on the record nor is there frothy throw-away indulgence. In the wrong concept (especially when the only real purpose is to swing relentlessly) listening to vibes can be a bit tiring and one-dimensional. Not here and Rossy steers the trio admirably through a variety of hoops sticking closely to the melodic on some fine originals of his (Chris Cheek's 'Cargols' is the only piece not by the Catalan).
Metrical changes are not a huge jolting factor and there is no stunt improvising so if that is what you are after look away entirely. But Ballard's brittle, rugged, sound shows true grit and the great drummer is certainly the yin to Rossy's yang. Robert Landfermann's very measured double bass-playing creeps up on you and he seems to find the right way to moderate the twin narrative of vibes and drums as if he is a conductor. He often provides the last crucial note or adds meaning to a passage. His solo on 'Taínos' is textbook.
Not the most challenging record that ECM have put out this year (you won't need a PhD to be allowed permission to don your earphones in this case as is sometimes the entry requirement when a record becomes too cerebral) but one that certainly radiates communicative warmth and a willingness to explore improvising routes that evolve the groove rather than smash it into tiny fragments. Rossy makes lots of albums but few make as much complete sense as Puerta.
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发表于 2022-3-13 14:44:29
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