HR 192.0kHz/24Bit 
专辑名称: The Q Sessions
创作艺人: [Christian McBride]
音乐流派: Jazz|爵士
专辑规格: 1碟3首
出品公司: Mack Avenue Records
发行时间: 2021/4/30
官方标价: £3.49 （会员免费下载）
域名语言: [en] （AI检测）
曲目介绍：
Blues Connotation
On Green Dolphin Street
Brouhaha
详细介绍:
To attract an audience for a jazz record these days, it helps to begin with a big idea—a tribute to one (or several!) legends, a conceptual work exploring a thematic narrative, anything that can translate into talking points or (better still) marketing. The loquacious and ubiquitous bassist Christian McBride, whose resume includes longtime musically consequential associations with Chick Corea and others, has navigated these somewhat arbitrary requirements expertly in recent years. A scan of McBride%27s discography turns up deftly executed trio records (both in studio and live at the Village Vanguard), collections of mostly original post bop (Kind of Brown, from 2009), hard-swinging big band outings (2020%27s For Jimmy, Wes and Oliver, which earns double points as a three-way tribute) and a long-form work memorializing key figures and moments in African American history and the struggle for civil rights (The Movement Revisited, also from 2020). Underrepresented, slightly: something low stakes. Casual. A good old fashioned blowing session that follows an interesting constellation of talents as they go exploring. McBride%27s done plenty of these, and his approach to swing rhythm makes him ideal for them. This crisp EP, commissioned by Qobuz, argues that maybe there%27s room for more of this in his mix of projects.
The big idea is communicated via the very first notes—a deep, deliberate bassline that walks into the relaxed confines of Blues Connotation. It%27s just a few measures of an easygoing yet businesslike pulse, and all McBride needs to establish the mission: He%27s looking for expansive musical conversation, not perfection, and he underscores this by leaving the groove-minded drummer Eric Harland lots of room to maneuver. Guitarist Mike Stern taps into the loose atmosphere right away, crafting a solo that weaves gorgeous textural chords into single-note lines that serve acrobatically away from hard bop convention. Saxophonist Marcus Strickland does much the same, organizing his ideas into dense clusters and then arranging those into a fire-breathing peak, the kind you%27d hear in the heated waning moments of a late club set. That%27s followed by the standard On Green Dolphin Street, which has been subject to countless overwrought arrangements on hundreds of records. Again McBride creates a foundation that just plain feels good—thanks to the Hi-Res recording, it%27s possible to zone in on the steady, carefully articulated recurring notes that he uses to anchor the melody and each of the solos. Naturally that includes McBride%27s own dexterous and marvelously inventive improvisation, which adapts Ray Brown%27s still-headspinning bass techniques for the modern era.
McBride%27s original Brouhaha closes the set. It was written shortly after Corea%27s passing, and manages the unusual trick of incorporating elements from several different realms of the pianist%27s work. The demanding theme, set to a syncopated post-funk rhythm, evokes the best of Corea%27s Elektric Band, while the open, conversational exchanges suggest the collaborative spirit of the later Corea acoustic trio, which featured McBride and Brian Blade. It%27s an intricate piece, and at first it sounds like another exercise in high-concept record making. Then the musicians start to stretch, and spar with each other, and suddenly it%27s a blowing session again. © Tom Moon/Qobuz
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