CD Steven Bernstein Diaspora Suite

Steven Bernstein - Diaspora Suite

wytwórnia: Tzadik, 2008

nośnik: CD, format: CD, ilość nośników: 1

plastik

nr kat.: TZ8122

czas: 65:13

folk/etno, jazz/yass/impro

Peter Apfelbaum: Tenor Saxophone, Flute, Qarqabas

Steven Bernstein: Trumpet

Ben Goldberg: Clarinet, Contra Alto Clarinet

John Schott: Electric Guitar

Scott Amandola: Drums

Will Bernard: Electric Guitar Sweeteners

Nels Cline: Electric Guitar

Jeff Cressman: Trombone

Devin Hoff: Electric Bass

Josh Jones: Drums, Percussion

1. Reuben

2. Simeon (Yis May Chu)

3. Levi

4. Judah

5. Dan

6. Naphtali

7. Gad

8. Asher

9. Issachar

10. Zebulon

11. Joseph

12. Benjamin

Kolejna, czwarta już odsłona przebojowego cyklu Stevena Bernsteina ‘Diaspora music’. Jedna z centralnych postaci nowojorskiej sceny down-town w swoim gwiazdorskim wcieleniu nie zwalnia obrotów.

Pierwsza część tetralogii ‘Diaspora Soul’ w zgodnej ocenie krytyków Down Beat, Machiny, Przekroju, Hi Fi i muzyka, Gazety Wyborczej to jedna z najważniejszych jazzowych płyt dekady lat 2000-tych.

Najnowsza płyta w największym stopniu powraca właśnie do tej magicznej formuły, która na ‘Diaspora Soul’ została podana tak błyskotliwie. Jeśli ktokolwiek ma jeszcze wątpliwości, że Steven Bernstein to dzisiaj jeden z czołowych jazzowych trębaczy, to płyta ‘Diaspora Suite’ je rozwieje, swoboda z jaką porusza się po nie spenetrowanych jeszcze muzycznych terytoriach napawa podziwem.

FRAGMENTY RECENZJI Steven Bernstein ‘Diaspora Suite’

allaboutjazz - Troy Collins

"...Bristling with energy, Diaspora Suite is looser and more exploratory than Bernstein's other albums in the series. Emblematic of its title, the songs flow seamlessly; subtle variations on harmonic motifs, throbbing bass ostinatos and polyrhythmic patterns reoccur throughout the album. Unfussy skeletal frameworks allow soloists ample freedom to explore numerous shifts in mood and texture, while providing enough structure to maintain thematic focus..."

Jambands - Pat Buzby

"...Diaspora Suite features a Bitches Brew-scale band (four horns, three guitars, bass, two drummers) and harkens back to Bay Area music circa 1969-'73. Bernstein's ensemble brings Herbie Hancock's records of that era to mind perhaps more specifically than it recalls Miles - there's the same predilection for odd meters and the same more involved (and less funky) writing, and certain instrument choices inevitably bring back memories. Ben Goldberg's bass clarinet immediately brings Bennie Maupin to mind, the dual drum clatter of Josh Jones and Scott Amandola recalls the phased interplay from Hancock's "Ostinato" (as well as numerous Miles dates), and Peter Apfelbaum has clearly learned the Coltrane phrase arsenal that was required for anyone coming up in that time.

However, the record from those years that comes most specifically to mind is Santana's Caravanserai, when Carlos and company made perhaps their best record by setting off into the desert with loose song structures and lofty jazz aspirations. The parallels have less to do with music than with mood and structure - Bernstein also uses crossfades between several tracks, and although both albums include many solos, they are secondary to each cut's function as one part of a suite of moods (funky, ominous, settled)..."

Stereophile - Fred Kaplan

"...This is by no means simply "Jewish music." The sounds and influences drift in from everywhere. The first track starts with an electric guitar riff and bongos back-up that's straight out of Marvin Gaye. Horns enter, blowing slightly dissonant intervals. Two minutes in, the clarinet rolls in with those punchy klezmer chords, but it doesn't overwhelm the other spices; they all mix and meld, play in and out and around one another. It's dark, bluesy, danceable (in your head and on the floor). It careens off in unexpected directions, all of them worth following..."