JOHN MEDESKI
''A DIFFERENT TIME''
APRIL 8 2013
41:28
1/A Different Time
John Medeski/4:32
2/I'm Falling in Love Again
Willie Nelson/5:43
3/His Eye Is on the Sparrow
Charles Gabriel / Sivilla Martin/6:18
4/Ran
John Medeski/1:53
5/Graveyard Fields
John Medeski/6:06
6/Luz Marina
John Medeski/5:34
7/Waiting at the Gate
John Medeski/2:30
8/Lacrima
John Medeski/3:54
9/Otis
John Medeski/4:58
John Medeski/Piano
REVIEW
by Thom Jurek
John Medeski's solo piano debut was a long time coming. Recorded for Sony Masterworks' revived Okeh imprint, it's a 41-minute showcase of a pianist we've not really encountered -- at least at this length -- before. At the suggestion of engineer and producer Henry Hirsch, Medeski cut this set using a seven-foot, 1925 French Gaveau piano. The instrument has a very different construct than the Steinways he usually plays. According to his liner essay, "The Gaveau responds to a more delicate, nuanced touch, requiring the player's full attention in every moment to control the sound. One must sing with the fingers." That's an apt description. Recorded live to tape using two microphones -- one ribbon, one tube -- processed through a vintage console, one can hear the space between the keys, inside the box, and in the room. The music is largely meditative, but is also thoroughly engaging due to the variety of material. It opens with the title track, one of three improvisations here. In it, one can hear just how curious Medeski is about melody, allowing a couple of them to unfold through his use of chords, and short trills encounter one another and achieve an artful synthesis. He practices restraint as he searches for the timbral layers beneath what he articulates and moves along them. This is followed by two wonderfully chosen covers. The first is a simply stated take on Willie Nelson's "I'm Falling in Love Again," with its querying intro and earthy high register. The second is Charlie Gabriel's standard "His Eye Is on the Sparrow"; full of reverential dignity and elegance, it's articulated with a jazzman's keen ear. "Waiting at the Gate" offers a view of Medeski as a young composer as interpreted through the savvy veteran -- it was written when he was in his teens. The use of a rumbling lower register in "Graveyard Fields" is where one can hear the pianist really "sing" on this instrument. Spontaneously composed, he finds his way quickly, listening intently even as his "voice" moves assuredly to express the hidden timbres and emotions. The set closes with a solo version of Medeski, Martin & Wood's "Otis," which is more song, less jam. Removed from the original version's in-the-cut bassline, and snare and hi-hat rhythms, the grace in this ballad shines through unencumbered. A Different Time may be the first solo entry for Medeski, but given its quality, it hopefully isn't the last.
BIOGRAPHY
by Joslyn Layne
Organist John Medeski has become a recognized and respected player in N.Y.C.'s downtown jazz scene and, more popularly, with his group Medeski, Martin & Wood. Born in 1965 in Kentucky, Medeski was raised in Ft. Lauderdale, Florida where he began playing piano along with his father while still a toddler; classical piano lessons began at the age of five. In addition to his affinity for Bach, Beethoven, and Debussy, Medeski learned, and entertained family with, old favorites of the '40s and '50s. By the mid-'70s, he was playing professionally with dance and theater companies, as well as performing at recitals and competitions. By the time he was 13, he had discovered jazz piano greats Bud Powell, Cecil Taylor, and Oscar Peterson. Medeski then began studying harmony and theory with Lee Shaw, and also around this time started Western musical theory and counterpoint studies at school. Medeski decided against pursuing a classical career after competing at a gala reception when he was 14. After this, he focused more on improvisational and folk music, specifically African and African American folk music. Through the early '80s, Medeski played in a wide variety of ensembles, including chamber and wedding, was musical director for theater productions, wrote two musicals, and played bassoon. He started exploring the local jazz scene after buying a Fender Rhodes, and started the band Emergency. Often playing gigs with area musicians including Mark Murphy, he was invited by Jaco Pastorious to perform on Pastorius' 1981 Japanese tour, but Medeski's mother wouldn't let him! In 1982, Medeski won an NEA Award, and a year later moved to Boston to study classical music with Leonard Shure at the New England Conservatory. For his second year, though, he changed musical directions and entered Ran Blake's Third Stream program. At NEC, he also studied with George Russell, Dave Holland, and Joe Maneri. It was here, too, that he met Bob Moses, with whom Medeski began playing. The two would back many visiting artists including Dewey Redman. He was introduced to the Hammond B-3 organ by Mr. Jellybelly, who he began gigging with almost nightly with. Medeski has played in Either/Orchestra, Ken Schaphorst Big Band, and the Jazz Composers Alliance, and worked with Anthony Davis and Sam Rivers. He played duo gigs regularly at the Village Gate from 1988 to 1990, and then moved to New York, where he started playing with Chris Wood, Reggie Workman, and Billy Martin. Medeski also became active in the downtown jazz scene, and has performed with the Lounge Lizards, John Zorn, and many more. Medeski, Martin & Wood became increasingly popular as the '90s progressed, bringing jazz to a younger, often rock-oriented audience. Always known as a collaborator, Medeski finally delivered his debut solo album, A Different Time, for Okeh in April, 2013.
DoWnLoAd
''A DIFFERENT TIME''
APRIL 8 2013
41:28
1/A Different Time
John Medeski/4:32
2/I'm Falling in Love Again
Willie Nelson/5:43
3/His Eye Is on the Sparrow
Charles Gabriel / Sivilla Martin/6:18
4/Ran
John Medeski/1:53
5/Graveyard Fields
John Medeski/6:06
6/Luz Marina
John Medeski/5:34
7/Waiting at the Gate
John Medeski/2:30
8/Lacrima
John Medeski/3:54
9/Otis
John Medeski/4:58
John Medeski/Piano
REVIEW
by Thom Jurek
John Medeski's solo piano debut was a long time coming. Recorded for Sony Masterworks' revived Okeh imprint, it's a 41-minute showcase of a pianist we've not really encountered -- at least at this length -- before. At the suggestion of engineer and producer Henry Hirsch, Medeski cut this set using a seven-foot, 1925 French Gaveau piano. The instrument has a very different construct than the Steinways he usually plays. According to his liner essay, "The Gaveau responds to a more delicate, nuanced touch, requiring the player's full attention in every moment to control the sound. One must sing with the fingers." That's an apt description. Recorded live to tape using two microphones -- one ribbon, one tube -- processed through a vintage console, one can hear the space between the keys, inside the box, and in the room. The music is largely meditative, but is also thoroughly engaging due to the variety of material. It opens with the title track, one of three improvisations here. In it, one can hear just how curious Medeski is about melody, allowing a couple of them to unfold through his use of chords, and short trills encounter one another and achieve an artful synthesis. He practices restraint as he searches for the timbral layers beneath what he articulates and moves along them. This is followed by two wonderfully chosen covers. The first is a simply stated take on Willie Nelson's "I'm Falling in Love Again," with its querying intro and earthy high register. The second is Charlie Gabriel's standard "His Eye Is on the Sparrow"; full of reverential dignity and elegance, it's articulated with a jazzman's keen ear. "Waiting at the Gate" offers a view of Medeski as a young composer as interpreted through the savvy veteran -- it was written when he was in his teens. The use of a rumbling lower register in "Graveyard Fields" is where one can hear the pianist really "sing" on this instrument. Spontaneously composed, he finds his way quickly, listening intently even as his "voice" moves assuredly to express the hidden timbres and emotions. The set closes with a solo version of Medeski, Martin & Wood's "Otis," which is more song, less jam. Removed from the original version's in-the-cut bassline, and snare and hi-hat rhythms, the grace in this ballad shines through unencumbered. A Different Time may be the first solo entry for Medeski, but given its quality, it hopefully isn't the last.
BIOGRAPHY
by Joslyn Layne
Organist John Medeski has become a recognized and respected player in N.Y.C.'s downtown jazz scene and, more popularly, with his group Medeski, Martin & Wood. Born in 1965 in Kentucky, Medeski was raised in Ft. Lauderdale, Florida where he began playing piano along with his father while still a toddler; classical piano lessons began at the age of five. In addition to his affinity for Bach, Beethoven, and Debussy, Medeski learned, and entertained family with, old favorites of the '40s and '50s. By the mid-'70s, he was playing professionally with dance and theater companies, as well as performing at recitals and competitions. By the time he was 13, he had discovered jazz piano greats Bud Powell, Cecil Taylor, and Oscar Peterson. Medeski then began studying harmony and theory with Lee Shaw, and also around this time started Western musical theory and counterpoint studies at school. Medeski decided against pursuing a classical career after competing at a gala reception when he was 14. After this, he focused more on improvisational and folk music, specifically African and African American folk music. Through the early '80s, Medeski played in a wide variety of ensembles, including chamber and wedding, was musical director for theater productions, wrote two musicals, and played bassoon. He started exploring the local jazz scene after buying a Fender Rhodes, and started the band Emergency. Often playing gigs with area musicians including Mark Murphy, he was invited by Jaco Pastorious to perform on Pastorius' 1981 Japanese tour, but Medeski's mother wouldn't let him! In 1982, Medeski won an NEA Award, and a year later moved to Boston to study classical music with Leonard Shure at the New England Conservatory. For his second year, though, he changed musical directions and entered Ran Blake's Third Stream program. At NEC, he also studied with George Russell, Dave Holland, and Joe Maneri. It was here, too, that he met Bob Moses, with whom Medeski began playing. The two would back many visiting artists including Dewey Redman. He was introduced to the Hammond B-3 organ by Mr. Jellybelly, who he began gigging with almost nightly with. Medeski has played in Either/Orchestra, Ken Schaphorst Big Band, and the Jazz Composers Alliance, and worked with Anthony Davis and Sam Rivers. He played duo gigs regularly at the Village Gate from 1988 to 1990, and then moved to New York, where he started playing with Chris Wood, Reggie Workman, and Billy Martin. Medeski also became active in the downtown jazz scene, and has performed with the Lounge Lizards, John Zorn, and many more. Medeski, Martin & Wood became increasingly popular as the '90s progressed, bringing jazz to a younger, often rock-oriented audience. Always known as a collaborator, Medeski finally delivered his debut solo album, A Different Time, for Okeh in April, 2013.
DoWnLoAd
