(English follows the Japanese)
実は彼はとんでもない苦労人なのです。4歳で絶対音感を持っていることに気がついた彼の両親はTrumpetを与えてPhiladelphiaのSettlement School of Musicに入学させる。7歳からはPhiladelphia Orchestraの首席TrumpeterであるSigmund Heringの個人レッスンを受け始める。14歳の頃にはWashington D.C界隈で「神童」と呼ばれ、1979年と1980年にはDown Beat誌の"Award for Best Young Jazz Musician of the Year"を受賞。1989年と1990には同じくDown Beat誌の「Critic's Poll for Best Trumpeter to Watch」（Jazz評論家が選ぶ将来有望なTrumpeter）を受賞。
しかし1986年に何とTony WilliamsとArt Blakeyから同時にバンドへの参加とツアーをオファーされる。WallaceはTerence Blanchardの後任としてArt Blakey's Jazz Messengersに参加。1980年代後半から1990年代前半はTony Williams Quintetの主要メンバーとして活躍。1991年にはMontreux Jazz Festivalで憧れのMilesとの共演を果たす。Milesの死後、Wayne Shorter, Herbie Hancock, Ron Carter、Tony Williamsの「Miles追悼バンド」のメンバーに選ばれ全米ツアーを行い、アルバム"A Tribute to Miles"がGrammy賞を受賞する。
Wallace 曲が3曲、Shorterの「Utopia」「Plaza Real」、John McLaughlinの「Pacific Express」他で全8曲。Wallaceの音楽的な原点であるMilesの、それも今回は1960年代マイルス・デイビス・クインテット風。「風」だけどもちゃんと「Wallace Roney作品」になってる。音に「Wallace Roney 」という名前が書いてある。相変わらず素晴らしくCreativeなLineをバリバリと吹いていくWallace。弟であるアントワーヌのサックスとのコンビネーションも良い。若手を従えて堂々たる大物っぷり。M2"Home"でのBallad Playも流石。そしてWallaceの曲がどれも素敵。
George Burton(fender rhodes)
Recorded at Area 51 Recording Studio, NYC on November 23-24, 2010
3. Pacific Express
4. Plaza Real
6. Evolution Of The Blues
7. Ghost Of Yesterday
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Wallace Roney New Quintet Part 3-Home
The inventive and open-minded approach of Wallace Roney's previous HighNote releases is maintained on Home. Roney is taking the eclecticism of his influences and merging them into a coherent whole, be it bebop, postbop, Trane, Herbie Hancock and Weather Report funk and fusion, hip-hop and, of course, Miles Davis, his guiding light. But Wallace Roney is mainstream only in the sense that he builds on what went before. And most importantly he does that with the essence of what jazz should be: A vehicle for self-expression, a conduit of the musical, mental and emotional self.
Although he is a stylistic descendant of Miles Davis, Wallace Roney constantly ignores the comfortable part of the legacy. His trumpet work has none of that winsome lyricism that gave Miles his great crossover appeal. Instead, he has consistently latched on to the spiky, probing, darker side of the legacy, which clearly suits his musical temperament. No one could call these eight numbers easy listening but they have a concentrated power and moments of quite devastating boldness and originality. Roney's brother, Antoine, adds suitably cryptic support on tenor and soprano saxophone Arúan Ortiz plays inspiring keyboard throughout.
The inventive and adventurous open-minded approach of Wallace Roney’s previous HighNote releases is firmly maintained on Home. Roney is taking the eclecticism of all his influences and gradually merging them into a coherent whole, be it bebop, postbop, Trane, Herbie Hancock and Weather Report funk and fusion, hip-hop and, of course, Miles Davis, his guiding light. But despite the influence of Miles, Wallace Roney is mainstream only in the sense that he builds on what went before. And most importantly he does that with the essence of what jazz should be: A vehicle for self-expression, an instant form of communication, a conduit of the musical, mental and emotional self. Featuring his working band, Home is yet another example of Roney’s tireless exploration of the communicative possibilities of jazz and cements his place in the pantheon of all-time trumpet greats.
One of the premier modern jazz trumpeters, Wallace Roney's Home fuses postmodernism with a classic 60's Blue Note Records stylization and touts the best of many jazz worlds on this superfine 2012 release. Over the years, Roney has developed a stylistic realm of sound amid inferences to Miles Davis's bluesy intonations. The band, including Roney's talented brother and saxophonist Antoine, glide through original compositions and works by renowned jazz artists. The ensemble launches the festivities with a warmhearted and contrasting take on Wayne Shorter's "Utopia," brimming with the hornists' thematic expansions and blustery solos.
Here and throughout, the musicians use space as an enhancer. Wallace Roney maximizes his attack via articulate voicings, spiked with flickering breakouts and near effortless fluency. Power and eloquence attain equal footing as the artists often dig deep from within. Guitar great John McLaughlin's "Pacific Express" is dappled with a touch of Miles Davis's "Bitches Brew" jazz fusion, sparked by Aruan Ortiz's electronic keys that counter's an air of mystery, modeled by the leader's deftly enacted muted lines and a loose, funk-rock vibe. And the band shifts gears on "Dawn," which is an up-tempo ballad layered by Doug Carn's organ phrasings, and the frontline's breezy notes atop a smoothly flowing Latin pulse as the band throttles the pitch and pursues an open-air forum. However, "Ghost" is a piece that aptly conveys ethereal attributes, due to the trumpeter's dark voicings that resonate with clairvoyant underpinnings. Home is an album that offers respite from many of the post-bop products that seemingly flood the market these days, largely devised on knotty time signatures sans any tangible or memorable melody lines. Nonetheless, Wallace Roney's artistry radiates to the hilt with this impeccably arranged program that discloses additional rewards on subsequent listens. Old-school funk and fusion? Contemporary R&B? Straight-ahead jazz? Open-air modal music? One never quite knows what to expect from a new Wallace Roney project—that is, aside from impressive blowing and a tone that, while still sometimes evocative of Miles, is its own thing of beauty: full, resonant, deftly shaded, often moving in unpredictable and mysterious ways. Roney, joined by his regular bandmates and several guests, touches on several of the stylistic strains mentioned above on Home. It’s chockfull of the leader’s dazzling displays, including the long tones and then quick runs of his “Evolution of the Blues”; that tune also offers a showcase for engaging tenor and soprano solos by Antoine Roney, Wallace’s younger brother, buoyed by the rhythmic punches of pianist Aruán Ortiz, bassist Rashaan Carter and drummer Kush Abadey. Roney’s way with a mute, to produce gorgeously dark and smoky sounds, is on display on the floaty title track as well as the exceedingly slow chestnut “Ghost of Yesterday,” limned with Ortiz’s lush chordings. Wayne Shorter gets a mini-salute here, with opener “Utopia,” an uptempo unplugged tune with plenty of solo space for the horn men and Ortiz, and “Plaza Real,” which benefits from a lovely melody—first voiced by Antoine’s tenor, then joined by the trumpeter—and a fusion-tinted rhythm section. The ’60s/’70s vibe also dominates the feel of John McLaughlin’s “Pacific Express.” Roney is entirely absent from the closer, “Revive,” a nearly three-minute unaccompanied piece by Bobby Ward, the revered Boston drummer who was pals with Tony Williams (and is heard on three of the album’s eight tracks). It’s a solo in which there is never a dull moment, which might also be said about all of Home.
Wallace Roney (born May 25, 1960) is an American hard bop and post-bop trumpeter. Roney took lessons from Clark Terry and Dizzy Gillespie and studied with Miles Davis from 1985 until the latter's death in 1991. Wallace credits Davis as having helped to challenge and shape his creative approach to life as well as being his music instructor, mentor and friend; indeed he holds the distinction of being the only trumpet player Davis ever personally mentored.
Roney was born in Philadelphia and attended Howard University and Berklee College of Music in Boston, Massachusetts, after graduating from the Duke Ellington School of the Arts of the D. C. Public Schools, where he studied trumpet with Langston Fitzgerald of the Baltimore Symphony Orchestra. Diagnosed with having perfect pitch at four years old, Wallace began his musical and trumpet studies at Philadelphia's Settlement School of Music. He studied with trumpeter Sigmund Hering of the Philadelphia Orchestra from the age of seven until Hering's death in 1980. Under the watchful eye of Eugene Ormandy, Hering regularly presented Wallace at recitals at the Settlement School, and with the Philadelphia Brass Ensemble, during his studies as a youth in Philadelphia. When he entered the Duke Ellington School of the Arts, Wallace Roney had already made his recording debut at age 14, and had attained distinction as a gifted local performer in the Washington, D.C area. In 1979 and 1980, Roney won the Down Beat Award for Best Young Jazz Musician of the Year, and in 1989 and 1990, he won Down Beat Magazine's Critic's Poll for Best Trumpeter to Watch.
Despite all his skills and early accomplishments, Roney spent years scrounging for work. Early in his career in the '80s, he was at one point homeless; he lived frugally, sleeping on the floors of friends' apartments and generally "wearing out my welcome", as he recalled to Washington Post writer James McBride. In 1983 his future began to look brighter -- at least temporarily. While taking part in a tribute to Miles Davis at the Bottom Line in Manhattan, he actually got to meet his idol. "He [Davis] asked me what kind of trumpet I had," Roney told Time magazine, "and I told him none. So he gave me one of his." Throughout two dismal years, 1984 and 1985, he was forced to play in Latin dance and reception bands, as the New York clubs, once a prominent part of the jazz scene, had mostly disappeared. But in 1986, he received a pair of calls, in the same month, to tour with drummers Tony Williams and Art Blakey, after which Roney has been one of the most in-demand trumpet players on the professional circuit.
In 1986, he succeeded Terence Blanchard in Art Blakey's Jazz Messengers. In the late 1980s and early 1990s, he was an integral part of Tony Williams's quintet. In 1991, Roney played with Miles Davis at the Montreux Jazz Festival. After Davis's death that year, Roney toured in memoriam with Davis alumni Wayne Shorter, Herbie Hancock, Ron Carter and Williams and recorded an album, A Tribute to Miles, for which they won a Grammy Award. He has been an integral part of bands with Art Blakey, Elvin Jones, Philly Joe Jones, Walter Davis Jr., Herbie Hancock, Tony Williams, Jay McShann, David Murray and McCoy Tyner, as well as a featured soloist with Ornette Coleman, Sonny Rollins, Curtis Fuller, Carole King, Joni Mitchell and Dizzy Gillespie.
Roney's story is unique among musicians of his generation, because he learned his craft directly from a legend like Miles Davis. In fact, Davis' influence on Roney was so profound that Roney is capable of a pitch-perfect imitation of Davis that fools even the most knowledgeable jazz listeners. However, critics have also taken Roney to task for sounding too similar to his idol. Wrote critic Ron Wynn, "[Roney's] trumpet tone, timbre, approach, phrasing, and sound so closely mirror that of Miles Davis in his pre-jazz/rock phase that he's been savaged in many places for being a clone and unrepentant imitator... It's a classic no-win situation; he does sound tremendously like Davis and can't be completely absolved from critical charges of imitation. But he's also a fine, evocative player on ballads and can be fiery and explosive on up-tempo tunes."
Roney recorded his debut album as a leader, Verses, on Muse Records in 1987. A number of albums on Muse, Warner Bros. Records and Concord Records/Stretch Records followed, and by the time he turned 40 in 2000 Roney had been documented on over 250 audio recordings. His two most recent albums are Mystikal (2005) and Jazz (2007), on HighNote Records.
He is the older brother of tenor and soprano saxophonist Antoine Roney. His father is Wallace Roney, U.S. Marshal and President, American Federation of Government Employees Local 102; and his grandfather, Philadelphia musician Roosevelt Sherman.
2001 - The Visit - Jordan Walker-Perlman - music arrangement
1996 - Love Jones - music arrangement