Формат записи/Источник записи: [TR24][OF]
Наличие водяных знаков: Нет
Год издания/переиздания диска: 2020
Жанр: Cool Jazz, Contemporary Jazz
Издатель (лейбл): Sunnyside
Продолжительность: 00:52:15
Наличие сканов в содержимом раздачи: Только обложка альбома
Треклист:
1. Ghosts of Gainsborough Street (05:14)
2. The Isles of Langerhans (10:15)
3. At The Brink (04:45)
4. Boundless Love (04:20)
5. Uncle Chip (07:00)
6. Certainty for Uncertainty (06:48)
7. Genesis (09:16)
8. The Human Condition (04:37)
Контейнер: FLAC (*.flac)
Тип рипа: tracks
Разрядность: 24/44,1
Формат: PCM
Количество каналов: 2.0
Лог проверки качества
foobar2000 1.0.3 / Dynamic Range Meter 1.1.1
log date: 2020-06-26 22:36:10
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Analyzed: The Bobby Spellman Nonet / Revenge of the Cool
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DR Peak RMS Duration Track
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DR12 -1.93 dB -16.80 dB 5:14 01-Ghosts of Gainsborough Street
DR14 -0.10 dB -19.17 dB 10:15 02-The Isles of Langerhans
DR13 -0.77 dB -16.73 dB 4:45 03-At the Brink
DR11 -5.22 dB -19.87 dB 4:20 04-Boundless Love
DR14 -0.15 dB -18.23 dB 7:00 05-Uncle Chip
DR12 -0.10 dB -15.78 dB 6:48 06-Certainty for Uncertainty
DR13 -2.34 dB -18.34 dB 9:16 07-Genesis
DR13 -2.39 dB -20.39 dB 4:37 08-The Human Condition
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Number of tracks: 8
Official DR value: DR13
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 24
Bitrate: 1331 kbps
Codec: FLAC
================================================================================
Источник (релизер): Qobuz, thanks aborjini
Состав
Bobby Spellman - composer, trumpet & slide trumpet
Emily Pecorard - alto saxophone (1)
David Leon - alto saxophone (2-8)
Tyler Burchfield - baritone saxophone
Kyra Sims - French horn (1, 4-8)
Justin Mullens - French horn (2 & 3)
Tim Shneier - trombone
Ben Stapp - tuba
Ben Schwendener - piano (1-4, 6-7)
Eli Wallace - piano (5 & 8)
Andrew Schiller - bass
Evan Hyde - drums
Об исполнителе (группе) http://www.sunnysiderecords.com/artist.php?id=666
Initially assembled to perform the timeless classics from the Birth of the Cool, the Bobby Spellman Nonet has evolved into a vehicle for Spellman’s colorful 21st Century compositions and arrangements, and a laboratory for his experiments in the Lydian Chromatic Concept.
Bobby Spellman is a jazz trumpeter, composer, educator, and theorist known for his eclectic musical style, dynamic performances, and experiments in contemporary jazz theory. A native of Boston, Bobby currently lives in Brooklyn, NY, where he leads several groups including his "Revenge of the Cool" Nonet, Dingonek Street Band, and his free-fusion unit, the Voodoo Club. In addition to working regularly with his own ensembles, Bobby has performed across the Northeast U.S. with Motown legends the Temptations and the Four Tops, reggae juggernaut John Brown's Body, and with experimental jazz groups including the Either/Orchestra, Charlie Kohlhase's Explorer's Club, and the Ed Polermo Big Band. From 2009-2016, Bobby served as composer and co-leader for the experimental Afrobeat collective Big Mean Sound Machine, touring extensively and releasing over six full-length albums of original music. Bobby was the first-prize winner of the 2019 Ithaca College Jazz Composition Contest with his original piece for large ensemble and solo trombone, "The Kingdom of Aksum."
Born and raised in the Greater Boston Area, Bobby was exposed to a wide variety of musical styles from an early age, eventually gravitating toward the free jazz and improvised music prevalent in the Boston jazz scene. Bobby earned a degree in Philosophy before pursuing a Master’s degree in jazz trumpet performance at the New England Conservatory of Music, where he had the opportunity to study improvisation with John McNeil and Jerry Bergonzi, ensemble performance with Dave Holland, Bob Moses, and Joe Morris, and George Russell's Lydian Chromatic Concept of Tonal Organization with Ben Schwendener. Bobby's interest in the Lydian Chromatic Concept led him to continue his studies in jazz theory after graduating from NEC, and he continues to explore new paradigms in music theory in order to integrate disparate styles of music and bridge the gap between tonal and atonal musics.
Bobby currently lives in Bushwick, Brooklyn with his wife, woodwind doubler Emily Pecoraro, and two cats. Bobby regularly performs on trumpet, cornet, flugelhorn, conch shell, and the rare and quizzical soprano trombone. He teaches private lessons in brass and improvisation throughout New York City, and has taught masterclasses in jazz theory at the collegiate level. Bobby is currently preparing to release a full-length album of new music with his "Revenge of the Cool" Nonet, scheduled to be released in the fall of 2019.
Об альбоме (сборнике) http://www.sunnysiderecords.com/release_detail.php?releaseID=1022
Miles Davis’s Birth of The Cool sessions, were recorded in 1949 and 1950 and released in 1957. More than fifty years later, when young trumpeter Bobby Spellman purchased a CD of these recordings, he became enchanted with the music. Spellman’s fascination with these performances led him to chase that same spirit for his own collection of nonet recordings, Revenge of the Cool https://sunnysidezone.com/album/revenge-of-the-cool
In 1948, the revolutionary sounds of bebop music were at their peak. Not far from the 52nd Street nerve center of jazz music a small group of forward thinking musicians were conceptualizing a new sound that would use the harmonic sophistication of bebop along with the compositional complexity of classical music. From loose sessions held in composer/ arranger Gil Evans’s basement apartment on 55th Street, the phenomenon that would become known as “cool jazz” was born.
These experiments were eventually immortalized when recording sessions from 1949 and 1950 were released as Miles Davis’s Birth of The Cool in 1957. More than fifty years later, when young trumpeter Bobby Spellman purchased a CD of these recordings, he became enchanted with the music. Spellman’s fascination with these performances led him to chase that same spirit for his own collection of nonet recordings, Revenge of The Cool.
Born and raised near Boston, Spellman was attracted to the experimental jazz scene that flourished in the city. After earning a degree in philosophy at Ithaca College, he went on to earn a Master’s degree in jazz trumpet performance at the New England Conservatory, where he had continued his study of boundary pushing musicians who worked there, including Ran Blake, George Russell and Steve Lacy.
Spellman has been based in Brooklyn since leaving NEC, leading different ensembles in a variety of genres. His infatuation with the music from Birth of The Cool remained with him after he left school, as he looked to find the reason for the mysterious compulsion toward the music. Spellman found after studying the scores that much of the attraction came from the unique colors and textures that were generated by the unique mid-sized ensemble along with the unique compositional style that lent itself to both jazz and classical styles, prefacing the Third Stream movement that would come soon after.
The nonet is an ensemble size that offers much for an enterprising composer. There is flexibility not present with big bands, though still maintaining the abundant opportunities for harmonic complexity that the larger ensembles proffer. Spellman began to write for this aggregation and found himself leaning toward the Birth of The Cool instrumentation, featuring French horn and tuba heavily, two instruments that were particularly tricky to write for.
To build his nonet, Spellman looked toward many of his NEC peers, including baritone saxophonist Tyler Burchfield, bassist Andrew Schiller, trombonist Tim Shneier and pianist Eli Wallace, along with pianist and Lydian Chromatic professor Ben Schwendener. Spellman’s wife, alto saxophonist Emily Pecoraro (who is featured on the first track), introduced Spellman to French horn player Kyra Sims, whom she met in New York and who shares the duty with her friend Justin Mullens. Tubist Ben Stapp, alto saxophonist David Leon and drummer Evan Hyde were other New York additions to the group.
The music began to take shape when Spellman was able to find a bi-weekly residency/rehearsal for the nonet in a Brooklyn restaurant. He then began to find other performance opportunities in Brooklyn, including The Owl Music Parlour, Scholes Street Studio and Shapeshifter Lab, allowing the ensemble to add material and flesh out their pieces during rehearsal.
The compositions that Spellman presented to the ensemble were intended to recapture the experimental nature of the initial Evans basement work. When analyzed, the pieces for Birth of The Cool can be dense and very avant-garde. It was the juxtaposition of well thought out melodic writing and complex, and occasionally dense, arrangements that made the music so intriguing. Spellman added elements of coordinated free improvisation to the mix.
The recording begins with the lush “Ghosts of Gainsborough Street,” a tribute to NEC’s legacy in the creative music world that was especially inspired by pianist Ran Blake’s more romantic approach to composition. The slow building “The Isles of Langerhans” uses two opposing sounds, one traditional and the other contemporary, and tries to find commonality between them. The aggressively swinging “At The Brink” uses composer Charles Ives as a guide as Spellman introduces a melody in one key and then another in yet another key before bringing them together. The beautiful “Boundless Love” is a tribute to Spellman’s wife and his e orts to create something worthy are gorgeous.
The spirited “Uncle Chip” is a brilliant piece of free-bop and the most recent composition for the group, written for a friend’s generous uncle. The title of “Certainty for Uncertainty” comes from Fela Kuti’s drummer, Tony Allen, and is a metaphor for the turbulent but frequently glorious life of a itinerant musician, the chord structure of the piece always playing close to the brink of destabilization. The lively “Genesis” is for Spellman’s mother, a free spirited artist who enjoys Afro-Cuban music, thus the dancing 12/8 rhythm. The program concludes with “The Human Condition,” a blues that connects the ensemble to the roots of jazz and allows the leader to flex on his slide trumpet.
The supposed cool school that emerged after the experimental works of Miles Davis, Gil Evans and others during the late 1940s has remained a touchstone in the development of jazz post bebop. The nature and spirit of the work was embedded in the study and play of Bobby Spellman, who was able to spin his love for this sound and reintroduce it with his fantastic nonet on his new recording, Revenge of The Cool. https://news.allaboutjazz.com/bobby-spellman-cool-revenge https://www.jazzwax.com/2020/05/bobby-spellman-cool-revenge.html
The birth of the cool took place at 14 West 55th Street in Manhattan in 1947. There, at arranger Gil Evans's bare-bones apartment, musicians constrained by bebop's small-group limitations began meeting to develop a new sound. Inspired by Claude Thornhill's sighing sectional approach to orchestral jazz, the revolutionary arrangers included Evans, Gerry Mulligan, John Lewis, George Russell, Miles Davis and John Carisi.
At the time, Davis was performing and recording with Charlie Parker, one of bebop's chief architects. Evans and Mulligan were both arrangers for Thornhill's new sound. At Evans's flat, the arrangers began to mesh bop, classical impressionism and Thornill's big-band sound into a compact construct designed for a more cost-efficient nonet.
Among the musicians recruited for the Miles Davis Nonet were Max Roach, J.J. Johnson, Kenny Clarke, Lee Konitz and Kai Winding. The results first were performed a few blocks away at the Royal Roost in 1948. Studio sessions for Capitol followed.
Though the music didn't catch on with jazz fans at first, Capitol had success with a 12-inch version in the late 1950s called Birth of the Cool after Davis signed with Columbia and became jazz's first recording superstar.
Now, Bobby Spellman, a jazz trumpeter, composer, educator, has updated the Birth of the Cool approach on his new album, Revenge of The Cool (Sunnyside). The album features a nonet comprised of the following musicians on different tracks: Bobby Spellman (tp and slide tp), Emily Pecoraro and David Leon (as), Tyler Burchfield (bs), Kyra Sims (Fr horn), Justin Mullens (Fr horn), Tim Shneier (tb), Ben Stapp (tuba), Ben Schwendener (p), Eli Wallace (p), Andrew Schiller (b) and Evan Hude (d).
Recorded in May 2019, all seven compositions are by Spellman and, I suspect, arranged by him as well. Spellman's bio can be found at his site here. Though the music diverts occasionally into the avant-garde, Spellman remains for the most part under the sway of the Birth of the Cool sound. At times, it's the focus. At other times, it's a backdrop or he bends and twists the approach neatly, which is fascinating.
Jazz fans will be gratified that Spellman and his nonet have rediscovered the beauty and grace of Birth of the Cool and have found a new way to present the nonet's feel without surrendering originality.
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发表于 2020-9-24 13:15:16
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