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Life in Real Time

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CD audio, 22 mar 2016
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  • Ascolto Tracklist (Estratto)
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Le recensioni clienti più utili su Amazon.com (beta) (Potrebbero essere presenti recensioni del programma "Early Reviewer Rewards")

Amazon.com: 4.4 su 5 stelle 5 recensioni
1 di 3 persone hanno trovato utile la seguente recensione
2.0 su 5 stelle Great recording marred by disconnected & boring saxaphones 12 luglio 2015
Di Lloyd Thompspon - Pubblicato su Amazon.com
Formato: Audio CD Acquisto verificato
Well recorded live performance., but the effort was disappointing in that the sax player(s) improvisations seems totally disconnected from the rest of the ensemble. further they seemed to repeat the same ideas on every title. The remainder of Mr. Gardony's ensemble were excellent ... clearly evident when the saxes laid out.
2 di 2 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle A powerhouse sextet captured live in concert 11 settembre 2015
Di Scott Albin - Pubblicato su Amazon.com
Formato: Audio CD
Gardony is best known for his solo piano and trio recordings, but for this concert at the Berklee College of Music's Berklee Performance Center in Boston the pianist assembled a formidable group featuring saxophonists Don Braden, Bill Pierce, and Stan Strickland, bassist John Lockwood, and drummer Yoron Israel. All but Braden are Gardony's teaching colleagues at Berklee, while Lockwood and Israel have been part of his trio for the past 13 years. The music fairly bursts from the speakers with a vibrant urgency, whether the group is exploring six significant Gardony originals or offering up fresh evaluations of "Lullaby of Birdland" and "Motherless Child." It's fortunate that these stimulating performances from Sept. 29, 2014 were preserved for all discerning jazz fans to enjoy and cherish.

For "Bourbon Street Boogie," Gardony's Dr. John style piano and what sounds like Strickland's tuba-like bass clarinet punctuations bring on the feel good New Orleans theme from Pierce and Braden. Pierce's solo wails with a forceful gruffness, while Braden's relatively more refined timbre doesn't detract from the exultant expressiveness of his improv. Gardony himself prances delightfully prior to the reprise. Israel's long mallet intro to "Breakout" is both hypnotically enticing and powerfully resolved, leading to the playing of the driving hard bop theme by Braden, and his riveting, cathartic solo. Pierce responds in kind, quickly reaching an intense, guttural level of commitment. Gardony's swiftly paced modal-centric turn is replete with heavy chords and darting flourishes, and the saxophonists interweave during the exciting reprise. A rollicking, funky beat introduces the three tenors harmonizing on the soulful melody of "Gemstones." Pierce's extended statement is swirling and tumultuous in its relentless emotional thrust. The leader's solo in contrast begins reflectively, with Lockwood's bass providing attentive counterpoint figures, and then becomes rhythmically charged thanks to the pianist's insistent motifs and Israel's urgings. The saxophonists' embellishments on the recap / out chorus conclude this satisfying track.

Lockwood and Israel set up a dancing shuffle groove for Gardony's refreshing arrangement of "Lullaby of Birdland." Braden and Gardony are the soloists, the tenor spurting, wailing and exhorting, the pianist alternately rhapsodic and blue. Gardony's re-harmonization of the spiritual, "Motherless Child," was in part inspired by Richie Haven's version at Woodstock, and spotlights Strickland's eloquent bass clarinet on the melody. Pierce soars from note one in his succinct solo, with densely churning passages, whereas Gardony's outing is sweet and sentimental. A West-African derived rhythm suffuses the appealing ballad, "New Song," reminiscent with the fervent horns of Abdullah Ibrahim's works. Strickland's bass clarinet once again makes its presence felt, his either cavernous or high pitched textures combining to generate a memorable improv. Lockwood's profound spot cleverly serves as a sort of out chorus. The three tenors convincingly convey the soulful theme to "The Other One." Gardony plumbs the changes with spirited warmth, and Braden, Pierce, and Strickland follow in order with insistent, probing authority. "Out On Top" contains a funky boogaloo beat that surrounds the tenors on the joyful, twisting theme, a little Big Easy flavoring to bookend the CD's opener. Braden testifies deliriously at length before Gardony channels the exuberance of Professor Longhair and Dr. John. The tenors "lock horns" on the finale, riffing at the last to a subdued ending.
2 di 2 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Laszlo Gardony's LIFE IN REAL TIME Is a Real Treat. 13 luglio 2015
Di Barry Tepper - Pubblicato su Amazon.com
Formato: Audio CD
I’ve heard Laszlo Gardony’s music referred to as “Post-Bop.” That sounds right to me, in that Gardony has a strong basis in Bop, but he sometimes slides into the sweet notes, familiar harmonies, and hot swinging beats that classical Bop seemed determined to shun. The new CD, Life In Real Time, has all the best elements of Gardony’s music. It’s a keeper.

The seven tracks on this CD provide a lot of music, both in elapsed time and creativity. That creativity centers on harmonies and, especially, on rhythms. And underneath it all, you hear a sense of joy.
If you’re familiar with Gardony, the first track of this CD is a little outside the usual sophistication of his band’s work. BOURBON STREET BOOGIE is a head-bobbing, compulsive, 1-4-5-1 old school number. Made me think of Dick Clark, because it “has a great beat, and makes you want to dance.”
BREAKOUT opens with what feels like a one-to-one drum solo. Israel is telling me something not just about rhythm, but also about his feelings of tone, texture, and color. Then, saxophonists Braden and Pierce jump in like a couple of kids turned loose in a playground.
I’ve heard GEMSTONES often at Gardony’s live gigs, but it comes up fresh and new each time. In this hearing, Gardony’s soft, reflective piano solo contrasts with the vigorous work of the three sax men, all supported by the solid foundation of Lockwood’s bass and Israel’s drums.
LULLABY OF BROADWAY (by George Shearing) and MOTHERLESS CHILD (a traditional spiritual) are great examples of what Gardony does with old familiar tunes. His unconventional arrangement of harmonies and rhythms is really tight in the ensemble work, and seems to set the solos on fire.
On NEW SONG and THE OTHER ONE, the band often sounds much larger than six men, especially in the transitions from solo to ensemble. And speaking of solos, Lockwood’s bass is sensitive and deeply felt, while Strickland can produce an amazing variety of sounds and moods from his sax and especially his bass clarinet.
The final track, OUT ON TOP, reminds me of being in one of those dark, crowded clubs that served bad drinks and great jazz, sitting with eyes closed, head bopping, lost in the music. This track is a new classic jazz standard.

LIFE IN REAL TIME was recorded by a sextet consisting of Laszlo Gardony (leader, composer, arranger, piano), John Lockwood (bass), Yaron Israel (percussion), Stan Strickland (saxophone, bass clarinet), Don Braden (saxophone), and Bill Pierce (saxophone).
1 di 1 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Another great album 14 luglio 2015
Di PRG - Pubblicato su Amazon.com
Formato: Audio CD
I always enjoy Gardony's music. Excellent CD!
1 di 1 persone hanno trovato utile la seguente recensione
5.0 su 5 stelle Five Stars 3 settembre 2015
Di Carl N. Sidle - Pubblicato su Amazon.com
Formato: Audio CD Acquisto verificato
Excellent


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