Album Notes
With this project, the LAPIS LAZULI BAND, Ray Anderson turns to the blues, and he does it in his own unmistakable way: jazzy, funky, and with a lot of fun. He is congenially assisted by the legendary Amina (Claudine Myers), ex-member in the bands of Anthony Braxton, Charlie Haden, Muhal Richard Abrams, Greg Osby, and Henry Threadgill and formerly prominently featured in Lester Bowie's New York Organ Ensemble. The band is completed by Jerome Harris and Tommy Campbell, both known for their work with Sonny Rollins, and bass player Lonnie Plaxico, once one of the leading figures of the M-Base scene.
About Ray Anderson:
"The most prominent trombonist of his generation." (Gene Seymour, NY Newsday)
"Anderson is a true and total original." (Fred Bouchard, Jazz Times)
"He can laze a loose-limbed legato line with the insouciance of a Vic Dickenson or provide locomotive tailgaiting with the urgency of a Kid Ory, delve into deft vocalization with the fluency of a Mangelsdorff, bend notes bluesily a la Lawrence Brown, or offer a sense of humor amid stuttering articulation reminiscent of Dicky Wells." Art Lange
The mark of a great artist has always been to go beyond technical excellence and impart a personal vision - a sense of style and self-expression that is indelibly his own. Among modern jazz musicians, no one rises to that standard more than trombonist Ray Anderson, whose sublime mastery of the tricks of his trade is equaled by the bountiful spirit he pours into his one-of-a kind sound. The man who wrote If I Ever Had a Home It Was a Slide Trombone, one of his many original compositions, has inhabited every nook and cranny of his horn. Described by critic Gary Giddins as "one of the most compellingly original trombonists," he is by turns a supremely lyrical player and bold texturalist, a warmly natural-sounding soloist and footloose innovator. Broadening the trombone's sonic scope with his extended techniques, brilliantly unconventional use of the plunger mute and demonstrative vocal-like tones, he played a major role in reawakening interest in the instrument in the '80s.
With this project, the LAPIS LAZULI BAND, Ray Anderson turns to the blues, and he does it in his own unmistakable way: jazzy, funky, and with a lot of fun. He is congenially assisted by the legendary Amina (Claudine Myers), ex-member in the bands of Anthony Braxton, Charlie Haden, Muhal Richard Abrams, Greg Osby, and Henry Threadgill and formerly prominently featured in Lester Bowie's New York Organ Ensemble. The band is completed by Jerome Harris and Tommy Campbell, both known for their work with Sonny Rollins, and bass player Lonnie Plaxico, once one of the leading figures of the M-Base scene.
About Ray Anderson:
"The most prominent trombonist of his generation." (Gene Seymour, NY Newsday)
"Anderson is a true and total original." (Fred Bouchard, Jazz Times)
"He can laze a loose-limbed legato line with the insouciance of a Vic Dickenson or provide locomotive tailgaiting with the urgency of a Kid Ory, delve into deft vocalization with the fluency of a Mangelsdorff, bend notes bluesily a la Lawrence Brown, or offer a sense of humor amid stuttering articulation reminiscent of Dicky Wells." Art Lange
The mark of a great artist has always been to go beyond technical excellence and impart a personal vision - a sense of style and self-expression that is indelibly his own. Among modern jazz musicians, no one rises to that standard more than trombonist Ray Anderson, whose sublime mastery of the tricks of his trade is equaled by the bountiful spirit he pours into his one-of-a kind sound. The man who wrote If I Ever Had a Home It Was a Slide Trombone, one of his many original compositions, has inhabited every nook and cranny of his horn. Described by critic Gary Giddins as "one of the most compellingly original trombonists," he is by turns a supremely lyrical player and bold texturalist, a warmly natural-sounding soloist and footloose innovator. Broadening the trombone's sonic scope with his extended techniques, brilliantly unconventional use of the plunger mute and demonstrative vocal-like tones, he played a major role in reawakening interest in the instrument in the '80s.
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Traducción Automática:
Notas del álbumCon
este proyecto, LAPIS LAZULI BAND, Ray Anderson recurre al blues, y lo
hace a su manera inconfundible: jazzy, funky y con mucha diversión. Cuenta
con la ayuda de la legendaria Amina (Claudine Myers), ex integrante de
las bandas de Anthony Braxton, Charlie Haden, Muhal Richard Abrams, Greg
Osby y Henry Threadgill, y anteriormente participó en el New York Organ
Ensemble de Lester Bowie. La
banda se completa con Jerome Harris y Tommy Campbell, ambos conocidos
por su trabajo con Sonny Rollins, y el bajista Lonnie Plaxico, una de
las principales figuras de la escena M-Base.Acerca de Ray Anderson:"El trombonista más destacado de su generación". (Gene Seymour, NY Newsday)"Anderson es un verdadero y total original". (Fred Bouchard, Jazz Times)"Puede
relajar una línea de legato de extremidades sueltas con la
despreocupación de un Vic Dickenson o proporcionar una cola de
locomotora con la urgencia de un Kid Ory, adentrarse en la hábil
vocalización con la fluidez de un Mangelsdorff, notas de blues a
Lawrence Brown, u oferta un sentido del humor en medio de la tartamudez articulación que recuerda a Dicky Wells ". Art LangeLa
marca de un gran artista siempre ha sido ir más allá de la excelencia
técnica e impartir una visión personal, un sentido del estilo y la
autoexpresión que es indeleblemente suyo. Entre
los músicos de jazz modernos, nadie se eleva a ese nivel más que el
trombonista Ray Anderson, cuyo dominio sublime de los trucos de su
oficio se ve igualado por el espíritu generoso que vierte en su sonido
único. El
hombre que escribió Si alguna vez tuve un hogar, fue un trombón de
diapositivas, una de sus muchas composiciones originales, ha habitado
todos los rincones y grietas de su cuerno. Descrito
por el crítico Gary Giddins como "uno de los trombonistas más
convincentes y originales", es, por turno, un jugador sumamente lírico y
texturista audaz, un solista calurosamente natural y un innovador en
los pies. Ampliando
el alcance sonoro del trombón con sus técnicas extendidas, el uso poco
convencional del silenciador del émbolo y los tonos vocales
demostrativos, desempeñó un papel importante en despertar el interés en
el instrumento en los años 80.
rayanderson.org ...
stonybrook.edu/ray_anderson ...
