【John Stetch - Bruxin'】(2006)

(English follows Japanese)

 

My Favorite Album (398)

 

By Takaaki Kondo, Tokyo Jazz Review

https://www.facebook.com/tokyo.jazz.review?ref=tn_tnmn

http://tokyo-jazz-review.jimdo.com/

 

Rating

Musical Performance     ★★★★

Sound Quality               ★★★☆

Overall Enjoyment         ★★★★


John Stetch
CanadaEdmonton出身のJazz pianist, composer, educator。最初に手にした楽器はClarinetSaxで、ピアノを始めたのは何と19歳の時。McGill Universityを卒業後New Yorkに出て、Rufus Reid, Mark Turner, Seamus Blake, Jeff Ballard, Jim Black, Chris Cheek, Ben Street, Javon Jacksonと共演する一方クラシック音楽にも携わり、The CBC Radio Orchestra, The Borealis String Quartetに曲を提供しています。これまで11作のリーダー・アルバムをリリースしており、カナダのJuno Award5回ノミネーション、 The Montreal International Jazz Festival主催の"Prix Du Jazz"賞を受賞しています。またCBCNPRといったTV番組の音楽監督も務めています。

 

さて、本作"Bruxin'"2006年の作品。まず最初に挙げたいのは、彼の類まれなる作曲・編曲能力です。クラシックのオーケストラやTV番組に楽曲を提供しているからでしょうか、「普通のJazz Pianist」が書く曲とは一味も二味も違います。特筆すべきは

 

『他の誰にも似ていない』

 

こと。これは本当に大変な事です。Jazz Pianoを少々齧っている私からすると、大抵のピアニストの曲は誰かに似ています。Jazz PianistであればBud Powell, Bill Evans, Herbie, Chick等を学ぶ事は「必須科目」であるし、大なり小なり影響が出てしまうのは当然です。しかしJohn Stetchの書く曲は「誰にも似ていない」。恐ろしいほどに個性的です。美しいMelodyは凝ってはいませんが、ハーモニーとリズミック・アプローチのアイデアはJohn Stetchにしか書けないと言っていいでしょう。

 

【各曲について】

 

Opener"Inuit Talk"は、イヌイットを描いた映画からヒントを得たもの。パワフルさと優雅さが見事に調和しています。Major(Key)Minorを行き来する印象的なVamp。カラフルなハーモニーを持つ5/8拍子のInterludeは、様々な雪の色のグラデーションをイメージしているとのこと。

 

タイトルトラックの"Bruxin'"ではStetchの素晴らしいブロック・コードが光ります。

 

"Circus"は「3」がモチーフの快速調のBlues。「3コード」「3拍子」「#3個」「3人=Trio」。II-V-Iのところのコードの一捻りがカッコイイ!

 

"Green Grove"は美しいワルツ。Sean Smith(bass)Rodney Green(drums)が作り出す力強いRhythmic Propulsion(推進力)が光ります。

 

アップテンポのFBlues"Snake"でのトリッキーな"キメ"、風変わりなライン(Melody)、意表を突くブレイク、3人の丁々発止のリズミックなやり取りは実に楽しそう!

 

【演奏】

 

演奏に関してはもう「素晴らしい!」の一言です。革新的とも言える「誰にも似ていない」「最高のQualityの」Stetchのソロ、複雑なスコア(楽曲)をモノともせずにStetchを時に強力に煽り、時にソフトに包み込み、Interplayを仕掛けて楽しむRodney GreenSean Smithの最高の技術と感性。

 

特に、Charlie Haden, Ravi Coltrane, Lizz Wright, Eric Reed, Benny Green, Mulgrew Miller, Terell Stafford, Greg Osby, Christian McBride, Joe Henderson, Diana Krall, Tom Harrell, Herbie Hancock, Dianne Reeves等など錚々たる面子と共演してきたRodney GreenDrummingは、歌心、瞬発力、繊細さ、ダイナミックレンジ、ソロ・アイデアの全てが素晴らしく、今やNYで引っ張りだこなのも宜(むべ)なるかな、です。

 

【結論】

 

全体として、最高の楽曲、最高の技術、Memberの間のInnovativeなインタープレイが最高の「Must Have」の一枚です。



Personnel


John Stetch (piano)
Sean Smith (double bass)

Rodney Green (drums)


Track listing


1 Inuit Talk          (06:10)

2 Bruxin'     (06:52)

3 Circus      (05:01)

4 Green Grove      (07:33)

5 Girl in the Hemp Shirt            (04:40)

6 Chord-Free Gord         (05:25)

7 How Far Is Callisto?     (05:49)

8 Prairie Unfolds   (05:14)

9 Snark      (03:56)

10 Heavens of a Hundred Days          (05:40)

11 Rectangle Man          (06:03)

All compositions by John Stetch

 

iTunes

https://itunes.apple.com/jp/album/bruxin/id272116124

Buy CD

http://www.amazon.co.jp/gp/product/B000EZ8ZVM/ref=cm_cr_mts_prod_img

 

http://www.hmv.co.jp/artist_John-Stetch_000000000086961/item_Bruxin_1373743

John Stetch - Website
Official Website
http://johnstetch.com/

Facebook
http://www.facebook.com/john.stetch?fref=ts&ref=br_tf


Reviews

"Bold and vital jazz for the 21st century." -- Utne Reader

"Stetch possesses an unlimited imagination, unique harmonic and rhythmic conceptions and the digital dexterity to execute any idea he hears." -- JazzTimes magazine


“Canadian John Stetch is one of the most brilliant and underrated jazz pianists working today. In a perfect world he would be more famous than Wynton Marsalis. …The compositions are all originals by Stetch, and most sound like instant classics. … At the keyboard he is a virtuoso who knows how to avoid self-indulgence … Although he brings his idiosyncrasies to the table, the pianist shows that innovative writing does not have to rely exclusively on dissonance or the obliteration of structure.” – Alain Druot, Clavier

“Stetch possesses an unlimited imagination, unique harmonic and rhythmic conceptions and the digital dexterity to execute any idea he hears.” – JazzTimes Magazine

 

“Bold and vital jazz for the 21st century.” – Utne Reader

 

“Stetch has uncommon pianistic facility, and his trio here with Sean Smith on bass and Rodney Green on drums is tight enough to fly in formation” – Thomas Conrad, JazzTimes

 

“Stetch’s crisp technique allows him to zip, smash and splash over the keyboard at will, creating stop-‘n’-start melodies, razzle-dazzle solos and bright conversations … a happy, welcoming feel to his music, despite its harmonic and rhythmic complexity …. expressive ebbs and flows and smart deployment of dynamics and space ….like hearing a painting by Miro or Matisse come to life…. playful technique and unfettered imagination … warm, swinging touch and crunchy chords … swings madly” – Paul de Barros, Down Beat (Hot Box)

 

“a clipped, jagged eccentricity cut with swirling whirlpools and chords that drop like dissonant splatters. Yet, there’s an inviting lyricism too … grounded in a rhythmic clarity that swings the old fashioned way” – John McDonough, Down Beat (Hot Box)

 

“a vibrant album showcasing a well-oiled machine of a trio … it sounds like these guys have been together for ten years ….. A wonderful composer …. A very intriguing player” – Neil Tesser, Listen Here! (NPR)

 

“A treat indeed is the new outing from Stetch, one of the most truly inventive players now recording. After a very successful trilogy of solo albums for the Justin Time label, Stetch returns to the group format with a dazzlingly smart and different collection of originals. Stetch is a virtuoso but his brilliant technique continues to unfold facets of his story (or stories). And these gentlemen – Stetch, bassist Sean Smith and drummer Rodney Green – sound like they’re having a grand time as well they might be with such challenging yet thoroughly appealing material to work (play) with … adventurous and challenging but exhilarating at every turn. It’s carefully thought out and yet the overall effect is one of liberating freedom.” – Donald Elfman, All About Jazz NY (lead review placement)


In a triumphant return to the group format, jazz pianist and composer John Stetch brings together a stellar trio performing eleven burning original compositions. With Sean Smith on bass and Rodney Green on drums, each track bursts with searing energy and striking originality. Not taking himself too seriously, Stetch’s razor sharp wit weaves itself throughout the 63-minute set. The listener is drawn in through waves of rhythmic adventure and unforeseen twists and turns, doused with harmonic freshness and melodic continuity. Always accessible and yet uniquely complex, this highly interactive music delivers a full spectrum of moods, from the catchy "Inuit Talk" to the more reflective "The Girl in the Hemp Shirt" to the aggressive edge of "Circus." Stetch’s consistently refined touch and precise articulation seal the deal - add on two of the best sidemen around and you have one of the most important trios working today.

 

 

Biography

Born in Edmonton, Canada, Stetch began piano studies at age 19, after several years of clarinet and saxophone. Upon graduation at McGill University, he moved to New York City for many years and later upstate New York. Stetch has performed across Canada, The U.S., Japan, Europe, Ukraine, Brazil, and Israel. He has released 11 CDs under his own name, has 5 Juno Award nominations (Canada), and won the Prix Du Jazz at The Montreal International Jazz Festival. He has been frequently recorded by the CBC and NPR and has appeared on such programs as Marian McPartland’s Piano Jazz and Weekend Edition with Leanne Hansen. John with some of his hand-made acoustic diffuser sculptures. Stech has performed and/or recorded with many jazz greats—Rufus Reid, Mark Turner, Seamus Blake, Jeff Ballard, Jim Black, Chris Cheek, Ben Street, Javon Jackson and others. He has recently been collaborating with classical and world musicians such as Alex Fiterstein, Sasha Vassiliev, Daniel Binelli, and has been commissioned to write for The CBC Radio Orchestra, The Borealis String Quartet, and recently premiered his own Trio for Clarinet, Cello and Piano. His latest CD, released in August 2011, is entitled “Fabled States” on Addo Records, funded by The Canada Council For The Arts. It features 12 original and diverse trio compositions by Stetch—displaying sounds from his own Ukrainian ancestry, the plateau of Tibet, classical music, quartertone tuning, free-improvisation, and the tradition of swinging jazz. Stetch recently played his first all-classical piano recital and is preparing for a recording of his own arrangements, re-compositions and improvisations on Bach, Mozart, Chopin and Shostakovich. John Stetch is currently based in Brooklyn, NY, and also teaches at Cornell University.