#dick oatts

[rainingmusic]

Luther Vandross - Have Yourself a Merry Little Christmas 

[jazzplusplus]

WDR Big Band - Ellington Unheard [1] (2016)

Depuis la Philharmonie de Cologne en juin 2016, le WDR Big Band interprète des oeuvres de Duke Ellington arrangées par Richard DeRosa, avec

WDR Big Band - Ellington Unheard [2] - (2016)

Seconde partie d'un concert depuis la Philharmonie de Cologne en juin 2016, où le WDR Big Band interprète des oeuvres de Duke Ellington arra

WDR Big Band: Oeuvres de Duke Ellington arrangées par Richard DeRosa, avec en solistes invités le pianiste Garry Dial et le saxophoniste Dick Oatts.

[alexnickname]

JERRY BERGONZI QUARTET feat. DICK OATTS Jerry Bergonzi , sax tenore - Dick Oatts sax alto - Dave Santoro basso - Andrea Michelutti batteria a bollate jazz meeting (ph © Roberto Cifarelli) por roberto cifarelli Por Flickr: JERRY BERGONZI QUARTET feat. DICK OATTS Jerry Bergonzi , sax tenore - Dick Oatts sax alto - Dave Santoro basso - Andrea Michelutti batteria a bollate jazz meeting (ph © Roberto Cifarelli)

[dustedmagazine]

John Hart – Crop Circles (Steeplechase)

Copping a cue from the topographical phenomena described by its namesake, Crop Circles is very much a product of human effort and orchestration. And as with those since-debunked indicators of extraterrestrial activity, there’s an air of initial mystery to guitarist John Hart’s music-making that reveals a functional though no less imaginative component in the ways he constructs a line. Hart’s been at his game for a good while, but as with many of his peers, that dedication to craft hasn’t yielded much in the way of a discography.  This date is his debut for Steeplechase as a leader and shares the distinction of his other appearances for the Danish label in being devoid of piano presence.

The other aspect that sets it agreeably apart from most jazz guitar dates is Hart’s application of reharmonization in interpreting the standards chosen to slot alongside a small handful of originals. The guitarist frontloads the latter tunes, leaving the second half of the album to select covers that trade original chord structures for new ones. These fresh frameworks are frequently more elaborate while leaving the associative melodies essentially unaltered. That preservation of form results in tunes that remain recognizable at the core while veering in intriguing directions when it comes to harmony.  

Altoist Dick Oatts joins Hart’s working trio with bassist Bill Moring and drummer Tim Horner on a handful of the tracks with agile phrasing that’s almost Lee Konitz-like in its cleanliness of tone. Hart’s new harmonic lattice for “How Deep Is the Ocean” inserts a teeming stream of cross-hatched activity around the saxophonist’s lead melodic statement. The leader’s response is ripe with ringing octaves and shimmering single notes that scatter across the swaying beat sustained by Moring and Horner to presage a mellifluous unison finish. Active and accommodating without feeling overstuffed, it’s inspiring interplay that echoes across the rest of the album. 

 Another spring-loaded chase between alto and guitar propels the first of Hart’s originals, “In Traneing.” It’s a predictably brisk piece that compensates for the questionability of its title with a steep slalom into blues by first Oatts and then his employer. Bass and drums once again bite playfully in tandem at their heels for the duration. Oatts sits out on “Time on My Hands” and “Sophisticated Lady,” allowing space to hear the trio in close conversation and Hart to approach each from its orthodox harmonic progression. Whether he’s tinkering playfully with a tune’s musical mechanics or playing it comparatively straight, Hart’s plectrum punches pleasingly above its weight.

Derek Taylor

[lallamusic]

MOODY'S MOOD FOR LOVE

QUE PERTENECE AL ALBUM JAZZING 5 

[dustedmagazine]

Dick Oatts – Use Your Imagination (Steeplechase)

Leonard Feather coined the term Blindfold Test in 1946 as a means of aurally quizzing musicians on the identities of efforts by their peers. Tasked with explicating the specifics of each musical selection played, aspirants were also encouraged to expound candidly on their opinions of the same. Pianist Mary Lou Williams was the first participant in the exercise and acquitted herself well under pressure. Use Your Imagination is the sort of album designed, intentionally or not, as a-near optimal candidate for such contests of amicably competitive deception.

Saxophonist Dick Oatts, here solely officiating on alto, has long had a rearview mirror approach to his stylistic preferences. Seven originals and a single cover of Cole Porter’s title tune sound like they could’ve been recorded a half-century ago or yesterday. Trumpeter Joe Magnarelli favors a pleasingly rounded attack in lineage with classic cool-toned purveyors like Kenny Dorham and Chet Baker, but with celerity of phrasing and singularity of placement that belies both. Pianist Anthony Wonsey, bassist Ugonna Okegwo and drummer Chris Smith work equally well as flexible foils for the horns or on their own.

Oatts’ sound on his instrument regularly limns the upper register, skirting the edges of soprano territory as on the opener “Yesteryear” where his ribbon-like patterns spool over a cleanly swinging rhythm stamped most prominently by Smith’s steady sticking. “Do Da Day” takes the dwarfish dictum as starting point for an ambling blues march and some tight horn unisons on the theme. Magnarelli gets first crack on the solo front and devises a dazzling descending improvisation that folds right into Oatts’ own elocutionary investigation of the melody.

“Como Uno” brings the requisite Latin angle with Smith switching to syncopated rims and cymbals in line with a throbbing variable center from Okegwo. Once again Oatts and Magnarelli affect a tight weave that pulls pleasingly apart into divergent solo statements. Mood and tempo turn somber for the spacious ballad “Lossofyou” with Okegwo’s strings leading the processional alongside Smith’s mallets as Oatt’s reed sketches a floating reverie from feathery airborne phrases. Mallets also factor crucially on the dark loping blues “Midwest Mideast” while “Gameshow” caps the album with a concentrated dose of collective humor. Sight-deprived contestants prepare to be stumped.

Derek Taylor

[diyeipetea]

INSTANTZZ: Dick Oatts Quartet (Café del Teatre, Lleida, Jazz Tardor 2016. 2016-11-05) [Galería fotográfica]

INSTANTZZ: Dick Oatts Quartet (Café del Teatre, Lleida, Jazz Tardor 2016. 2016-11-05) [Galería fotográfica]

Fecha: Sábado, 05 de Noviembre de 2016

Lugar: Café del Teatre, Lleida

Componentes: Dick Oatts Quartet Dick Oatts, saxo alto Barry Green, piano Masa Kamaguchi, contrabajo Stephen Keogh, batería

Dick Oatts Quartet © Sergio Cabanillas, 2016

Dick Oatts © Sergio Cabanillas, 2016

Barry Green © Sergio Cabanillas, 2016

Masa Kamaguchi © Sergio Cabanillas, 2016

Stephen Keogh © Sergio Cabanillas, 2016

Dick Oatts ©…

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[songsbyfriends]

2016 - Day 15 - Half Life

Preview, buy, and download songs from the album Simone's Dance, including ”Indigo Rays,” ”Simone's Dance,” ”Half Life,” and many more. Buy the album for $11.99. Songs start at $1.29.

Half Life, from Dick Oatts’ Simone’s Dance

https://itunes.apple.com/us/album/half-life/id160831411?i=160831443&app=itunes

http://www.dickoattsmusic.com