Guitarist Adam Rogers returns with Sight, an album that continues his exploration of heady originals and standards, in the trio format that, with Time and the Infinite (Criss Cross, 2007), took a left-turn from his earlier quartet and quintet records.
Surrounded by friends old and new on Time, with Sight Rogers returns to longtime drummer Clarence Penn after that brief hiatus. John Patitucci may replace equally longtime bassist Scott Colley, but they're hardly new acquaintances. Rogers spent plenty of time with Patitucci in the studio and on the road with the late Michael Brecker's Quindectet project, Wide Angles (Verve, 2003), resulting in a trio chemistry here that possesses both that wonderful "first encounter" energy, and no shortage of established empathy between the individual players. That best of both worlds makes Sight an improvement over the undeniably fine Time.
As meticulous here as in his sideman stint with saxophonist Chris Potter's Underground on Ultrahang (ArtistShare, 2009), in the director's chair Rogers is more decidedly cerebral, with often knotty and unpredictable compositions and arrangements. That doesn't mean a lack of resonance, however. Rogers' title track grooves mightily, a modal tune that opens with a vamp which could easily ratchet into the red zone were it not for the same dark, warm, and woody tone that largely defines Rogers playing throughout the disc, the one exception being his fairly literal look at the balladic standard "Beautiful Love," that Rogers makes his own on nylon-string guitar.
After emerging as a chops-meister in the 1980s with Chick Corea's Akoustic and Elektric bands, Patitucci has evolved into one of his generation's most important bassists. His work in Wayne Shorter's nearly decade-old quartet has contributed to the revitalization of the legendary saxophonist/composer's career, and he brings a similar telepathic elasticity to Rogers' trio. He constantly juggles the role of anchor with that of lyrical foil, and while he clearly still has chops to burn it's never in service of anything but the music. The near-classicism of Rogers' "Kaleidoscope" finds Patitucci acting as contrapuntal partner and harmonic focus for Rogers, whose lithe, graceful lines weave in and out of this ethereal composition with the increasing confidence that's marked the guitarist's trajectory for two decades.
Penn engenders loyalty, whether with Rogers or trumpeter Dave Douglas, in whose electro-acoustic quintet he's held the drum seat since inception nine years ago. Here he creates a stable but flexible pulse to Rogers' complex rhythmic, harmonic, and temporal rearrangement of Jerome Kern's "Yesterdays" and a more faithful version of Woody Shaw's enduring "The Moontrane," the latter a song that—with brass removed and guitar its primary melodic and chordal instrument—still swings, but with in a lighter, more open-ended fashion.
When compared to Kurt Rosenwinkel's standards-heavy Reflections (Wommusic, 2009), Sight is a more challenging and overtly virtuosic look at music that spans decades. For a younger generation of players, it's clear that music at the very foundation of jazz continues to provide inspiration for ultra-modern exploration.
By John Kelman
December 17, 2009
https://www.allaboutjazz.com/sight-adam-rogers-criss-cross-review-by-john-kelman
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El guitarrista Adam Rogers regresa con Sight, un álbum que continúa su exploración de originales y estándares embriagadores, en el formato de trío que, con Time and the Infinite (Criss Cross, 2007), dio un giro a la izquierda de sus discos anteriores de cuarteto y quinteto.
Rodeado de viejos y nuevos amigos a tiempo, con Sight Rogers regresa con el baterista Clarence Penn después de esa breve pausa. John Patitucci puede reemplazar al bajista Scott Colley, igualmente veterano, pero apenas son nuevos conocidos. Rogers pasó mucho tiempo con Patitucci en el estudio y en la carretera con el proyecto Quindectet del difunto Michael Brecker, Wide Angles (Verve, 2003), lo que resultó en una química de trío aquí que posee tanto esa maravillosa energía del "primer encuentro" como la falta de empatía establecida entre los jugadores individuales. Lo mejor de ambos mundos hace que Sight sea una mejora con respecto al innegablemente buen Momento.
Tan meticuloso aquí como en su temporada de acompañante con Underground del saxofonista Chris Potter en Ultrahang (ArtistShare, 2009), en la silla del director Rogers es más decididamente cerebral, con composiciones y arreglos a menudo retorcidos e impredecibles. Sin embargo, eso no significa falta de resonancia. La canción principal de Rogers, grooves mightily, una melodía modal que se abre con un vampiro que fácilmente podría entrar en la zona roja si no fuera por el mismo tono oscuro, cálido y amaderado que define en gran medida a Rogers tocando a lo largo del disco, la única excepción es su mirada bastante literal al estándar baládico "Beautiful Love", que Rogers hace suyo con una guitarra de cuerdas de nailon.
Después de emerger como maestro de ceremonias en la década de 1980 con las bandas Akoustic y Elektric de Chick Corea, Patitucci se ha convertido en uno de los bajistas más importantes de su generación. Su trabajo en el cuarteto de Wayne Shorter, de casi una década de antigüedad, ha contribuido a la revitalización de la carrera del legendario saxofonista/compositor, y aporta una elasticidad telepática similar al trío de Rogers. Constantemente hace malabares entre el papel de ancla y el de contrapunto lírico, y aunque claramente todavía tiene chuletas para quemar, nunca está al servicio de nada más que la música. El clasicismo cercano del "Caleidoscopio" de Rogers encuentra a Patitucci actuando como socio contrapuntístico y enfoque armónico para Rogers, cuyas líneas ágiles y elegantes se entrelazan dentro y fuera de esta composición etérea con la creciente confianza que ha marcado la trayectoria del guitarrista durante dos décadas.
Penn genera lealtad, ya sea con Rogers o con el trompetista Dave Douglas, en cuyo quinteto electroacústico ha ocupado el puesto de batería desde su creación hace nueve años. Aquí crea un pulso estable pero flexible al complejo reordenamiento rítmico, armónico y temporal de Rogers de "Yesterdays" de Jerome Kern y una versión más fiel de la perdurable "The Moontrane" de Woody Shaw, esta última una canción que, con los metales eliminados y la guitarra su instrumento melódico y cordal primario, todavía oscila, pero de una manera más ligera y abierta.
En comparación con Reflections, de Kurt Rosenwinkel, con muchos estándares (Wommusic, 2009), Sight es una mirada más desafiante y abiertamente virtuosa de la música que abarca décadas. Para una generación más joven de músicos, está claro que la música en la base misma del jazz continúa proporcionando inspiración para la exploración ultramoderna.
Por John Kelman
17 de diciembre de 2009
https://www.allaboutjazz.com/sight-adam-rogers-criss-cross-review-by-john-kelman
adamrogersmusic.com ...
Tracks:
1 - Sight
Composed By – A. Rogers - 6:40
2 - I Hear A Rhapsody
Composed By – Fragos*, Baker - 6:14
3 - Kaleidoscope
Composed By – A. Rogers - 4:58
4 - Yesterdays
Composed By – J. Kern - 7:24
5 - Memory's Translucence
Composed By – A. Rogers - 5:12
6 - Let's Cool One
Composed By – Th. Monk - 7:38
7 - Hourglass
Composed By – A. Rogers - 4:32
8 - The Moontrane
Composed By – W. Shaw - 7:01
9 - Beautiful Love
Composed By – Van Alstyne*, Gillespie*, Young*, King - 5:29
10 - Dexterity
Composed By – C. Parker - 6:29
Credits:
Bass – John Patitucci
Design [Cover Design] – Bloemendaal In Vorm, Gerry Teekens
Drums – Clarence Penn
Engineer [Recording Engineer] – Michael Marciano
Guitar [Guitars] – Adam Rogers (2)
Mixed By, Mastered By – Adam Rogers (2), Michael Marciano
Photography By – Jonas Bostrøm
Piano – Adam Rogers (2) (tracks: 1)
Producer – Gerry Teekens
Recorded December 19, 2008 in at Systems Two Recording Studios, Brooklyn, NY
Label: Criss Cross Jazz – Criss 1313 CD
Country: Netherlands
Released: 19 de may de 2009
Genre: Jazz
Style: Contemporary Jazz, Post Bop
https://www.discogs.com/es/release/8174468-Adam-Rogers-Sight
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