It Happens Everyday - Lonnie Plaxico - Iridescence
Label: Muse Records - MCD 5427 • Format: CD Album • Country: US • Genre: Jazz •
Already have an account? Sign in. He was the leader of several recordings So Called Friends - V.P.R. - Aural Assault for the now static Muse label in the s and90s.
The pieces populating this live disc are closer to Plaxics Art Blakey experience than to his M-Base involvement. That is to say that this is superb contemporary hard bop. The spirit and association of Bu is big, very big. Then Norris surfaces with a suitablee funky solo. Here, the chestnut begins as a unison ensemble piece resembling a big band. It Happens Everyday - Lonnie Plaxico - Iridescencethe mood and personality changes to a nuclear funk counterpoint bouncing off of a contemporary filter.
Plaxics own compositions are provocative and Rosegarden Funeral Of Sores - Bauhaus - Press The Eject And Give Me The Tape. Visit Records and Lonnie Plaxico.
Michael Bailey. The M-BASE Collective, when it first emerged in the80s, championed a style that was about rhythmic unpredictability that was nevertheless mathematical in its precision, and a new way of looking at harmony that differentiated it from the post bop language of the young lions of the time.
Bassist Lonnie Plaxico has the advantage of having worked seriously in both camps, and with his latest live release, Live at Jazz Standard he continues to straddle the line, although he clearly tends to lean towards the M-BASE side.
The result is a mixed programme; while the talents of the members of Plaxics group are never in question, the overall set is something of a barrage on the senses; exciting to be sure, but tiring after repeated listens. It would have been captivating to have been in the audience on January 29,when this recording was made at New Yors Jazz Standard club.
Plaxico, who alternates between acoustic and electric bass, and drummer Lionel Cordew presents a rhythm section that is complex and energetic. But that is, Man And A Woman - Rita Coolidge - Heartbreak Radio, the problem with the grous approach. The rhythm section is so frenetic at times that while there is a certain gut-level excitement in hearing them navigate such difficult passages with ease, one is sometimes more impressed by how well they play, and less than taken at what they play.
Thankfully there are moments of respite. The rest of the set runs at an energetic pace. Along Came Benn references Benny GolsosAlong came Betty Cachas Danc manages to blend Cuban rhythms with the more logical exactness of Plaxics and Cordes approach whileSenor Silve pays tribute It Happens Everyday - Lonnie Plaxico - Iridescence Horace Silver in a frantic funk that, frankly, owes little to its source. The players are exceptional; saxophonist Marcus Strickland, It Happens Everyday - Lonnie Plaxico - Iridescence twenty-four, demonstrates a It Happens Everyday - Lonnie Plaxico - Iridescence beyond his years, as does trumpeter Alexander Norris; pianist Marin Bejerano manages to navigate the complicated changes with confidence; Cordew is, quite simply, a powerhouse of polyrhythms; only Kahil Kwame Bell is superfluouthe proceedings are busy enough without the added percussion.
But as high quality as the performances are, once one gets past the immediate excitement, one is left feeling strangely empty. Live at Jazz Standard shows that great playing is not enough; there has to be a connection to give a recording lasting value and, sadly, there is little to connect with on this date.
Visit Lonnie Plaxico and Records on the web. Jazz Lonnie Plaxico Ronnie Scott's, London John Fordham Wednesday October 1, The Guardian In jazz, the difference between a record and a gig can baffle tourists from the pop world. The contrast is particularly plain in the case of the brilliant US bassist and bandleader Lonnie Plaxico, playing in London this week. It features a sensational band, and the repertoire is remarkably wide-ranging - suggesting one of Miles Davis's later funk outfits, or even a more traditional ensemble playing standards.
But in this week's live show, the emphasis is on fast, high-energy music, frantic with percussion and buried under blizzards of notes. It's impressive, in a unicycling-through-gunfire kind of way - but it isn't half of what Lonnie Plaxico has in his head. Coltrane's dry tone and thoughtful construction are often overwhelmed. Norris, however, fires shards of white-hot sound through it, demonstrating elegant control of long, high tones.
Plaxico's acoustic basslines roar with urgency. And there is considerable improvising strength in the succinct and free-flowing work of Helen Sung: earthily swinging on organ, and with much of McCoy Tyner's mix of percussive chording and tumbling, linear playing on piano. Delusions represents the band at its most manic. Always Crazy, a track from the album, does more to balance busy urgency, thoughtful improvising from Coltrane and Norris and an engaging funk groove.
Although the predominantly hard, bright sound of the band broadens into richer ensemble harmonies later in the set, it is a more one-dimensional experience than Plaxico's famous sensitivity to group dynamics in other people's bands might have implied.
Lonnie Plaxico - "Melange" Although he was associated with the M-Base musicians, bassist Lonnie Plaxico has earned an impressive reputation throughout his career. His resume includes tenure with some of the greatest players in jazz, such as Dexter Gordon, Art Blakey and Wynton Marsalis.
The word "Melange" means a mixture, and that's exactly what this CD is all about. A very versatile and clever musician, Lonnie has taken many moods and flavours and forged them into a musical tapestry. He utilizes various influences and styles to accomplish his means. There is funk, a bit of hip-hop, and for the most part, a great deal of fusion. As a composer, Lonnie's talent is very much in evidence, having written all eleven selections. There are Brazilian rhythms, intricate time changes, lucid trumpet playing by Tim Ries and the masterful piano playing of Helen Sung.
There is an aura of mystic about this CD that grows on you with every listening. Erin McKeown - We Will Become Like Birds is Lonnie's fiftieth offering as a leader, the music is refreshing, energetic and sometimes difficult, but its masterful execution is a credit to all concerned. While his seven previous recordings as a leader have all been worthy of attention, it is with his latest release, Rhythm and Soul that he finally delivers on his promise as a leader.
Clever, contemporary writing with many twists and turns, a strong team of players and beautiful production, make Rhythm and Soul his strongest It Happens Everyday - Lonnie Plaxico - Iridescence to date. Plaxico has, this time around, managed to assimilate his diverse influences, from post-bop to M-BASE to Dancing In The Shadows Of Moonlight - Peter Dancy - Musik Und Lieder Von Peter Dancy into a singular sound.
George Colligan, on piano, organ and synthesizer, shows why he is one of the serious up-and-comers on the New York scene today. Last heard with Plaxico on Lonnie Plaxico Live at the Jazz Bar, Colligan is a capable soloist and completely sympathetic accompanist. One of the fundamental focuses of the label is to allow its artists full freedom to pursue their muse, and by doing so with Plaxico, they have given him the opportunity to create his best effort yet.
For more information, visit www. His eighth album as a leader spotlights his brilliance in several areas, from gently, yet substantially backing vocalists to working both alone and with large combos.
Plaxico uses Mal Waldron's "Soul Eyes" as a set piece to demonstrate his impressive solo bass facility, delivering a stunning melodic embellishment, then a dazzling improvisation working off it. On "'Tis So Sweet," a traditional gospel tune, he smoothly glides underneath vocalist Aneilia Lomax and pianist Arene Lomax, punctuating and extending their leads while turning the song into a majestic concluding work. The disc's small-group pieces tend to be either intimate ballads, such as the poignant cover It's marked with the tartness and Be My Guest - Hughie Crawford - Inside Out of Brooklyn jazz from the 's, with funk as a basic ingredient if not always a defining one; he was a member of that young school, Fanatiker - Burn Down - Zyklon Sturm Der Vergeltung It Happens Everyday - Lonnie Plaxico - Iridescence Steve Coleman and Greg Osby.
But then there were other flavors as well in his group's early set at Sweet Basil on Friday night. His set list - much of it drawn from a new album on High Note records, recorded with a different cast of musicians - flicked through different styles of black popular music, juxtaposing brain-tickling, attenuated ideas with others that were slick and gut-punching.
This was a gig at which the audience cheered once when a musician played something trickily interior and again minutes later when a pumping gospel strain started up.
The rhythm section was the pivot in these changes: Mr. Plaxico plays stubby notes that lend themselves easily to funk, and the drummer Lionel Cordew and the pianist George Colligan both hit heavily. Jeffrey Haynes, on congas and occasionally playing How Can You Do It Alone - The Who - Face Dances tablas, added extra layers to reinforce whatever the music's identity happened to be.
Teodross Avery, on tenor Sax, played the vocabulary of rhythm-and-blues. Colligan was the widest-ranging musician of the night, going deep into McCoy Tyner's rhythmic and harmonic language as well as playing organ and a bit of dreadful, anachronistic synthesizer.
The music had energy, but sometimes too many notes were flung around. A counter-weight to that tendency was the trumpeter Lew Soloff, who burned through the clutter: his tone was fat and strong, and in several solos he kept returning to extravagantly long notes, which drove the tension up as the band grooved around him.
But after first listen, you quickly realize that Emergence is a most fitting title, because it exhibits a bold con-fidence and unflinching vitality that was lacking on his previous albums.
But I noticed that I was still not making money, and I was never really satisfied with those records. So I decided to do what I'm really feeling and just go for it. In short, Emergence is a very now record. Much of Emergence illustrates Plaxico's burgeoning talents as a composer who's wise enough not to disregard the music of his own generation.
For ex-ample, Plaxico's wonderfully funky "Red Light District," which is based on the changes of Cole Porter's "Love for Sale," owes as much to hip hop's manner of reassembling old material as it does to jazz's legacy of writing compelling new tunes out of old show tunes. He wasn't, but this group owes a lot to that sound, with its churning, propulsive drive, It Happens Everyday - Lonnie Plaxico - Iridescence it's no insult to say that Plaxico manages to do it with only two drummers I saw Williams' group live, and Tony Williams was in fact 2.
But there's another influence going on here--dare I say it--of course I dare, it's Frank Zappa in his Joe's Garage phase, with the twisty, impossibly complex rhythmic patterns that he could only make work in the studio.
Hear it? C'mon, you gotta hear it, let's listen again. Marcus Strickland is the only player on here I recognize, and he manages to solo on top of all this weirdness, but it's tough to keep up.
However, it's fun enough just listening to the band crank through the changes. Bassist Lonnie Plaxico has seldom emerged from the rhythm section as a leader during a distinguished two-decades plus career. Although he has made five other albums, he's far better known for his outstanding assistance and accompaniment to musicians ranging from Dizzy Gillespie and Dexter Gordon to Art Blakey, Sonny Stitt, Cassandra Wilson and Wynton Marsalis.
Plaxico's Blue Note debut is designed to show audiences the bassist's diverse roots while also featuring him headlining disparate units. The song menu includes a cover of the Tower of Power instrumental "Squib Cakes," a gospel-styled piece, "Sunday Morning," and other tunes that tackle Afro-Latin, funk, mainstream and some that even venture outside. Plaxico heads one ensemble featuring trumpeter Lew Soloff and saxophonist Tim Ries, and another with Jeremy Pelt and Marcus Strickland handling brass and reeds.
George Colligan and Helen Sung divide keyboard Lonnie Plaxico Emergence - Savant Records 2. Lonnie Plaxico Group live at the Jazz bar - Plaxmusic 4. Lonnie Plaxico group live at the Jazz Standard - Records 6.
Lonnie Plaxico, the middle child in a large family of outstanding musicians. He was born and raised in Chicago, where It Happens Everyday - Lonnie Plaxico - Iridescence inherited gift It Happens Everyday - Lonnie Plaxico - Iridescence music was discovered and nurtured.
Lonnie Plaxico started playing music at an early age; by the age of twelve he had taught himself how to play the electric bass. At the age of fourteen he was performing along side several prominent Chicago Jazz figures. He ventured more into Chicago's music scene, renowned for its mix of jazz, funk and blues as he enhanced his musical skills.
Lonnie Plaxico became professional, known for playing the electric and acoustic bass with equal facility. His first extended tenure It Happens Everyday - Lonnie Plaxico - Iridescence with Art Blakey's Jazz Messengers: between and Presently, Plaxico is the musical director and featured bassist for singer, Cassandra Wilson.
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