#eric revis

[jazzplusplus]

2009 - Branford Marsalis Quartet - Laeiszhalle - Hamburg

Branford Marsalis (sax), Joey Calderazzo (p), Eric Revis (b), Jeff 'Tain' Watts (dr)

[gottahavesoul]

Kat Edmonson - (Just Like) Starting over (Take To The Sky, 2009)

Personnel: Kat Edmonson: vocals; Kevin Lovejoy: piano, arranger; Eric Revis: bass; J.J. Johnson: drums;

lovely...

[jazzplusplus]

2004 - Branford Marsalis Quartet - Köln / Cologne

Branford Marsalis (sax), Joey Calderazzo (p), Eric Revis (b), Jeff 'Tain' Watts (dr)

[jazzplusplus]

2019 - Branford Marsalis Quartet - Prinzregententheater - Munich/München

Branford Marsalis (sax), Joey Calderazzo (p), Eric Revis (b), Justin Faulkner (dr)

[diyeipetea]

"C(o)urses" [Caleb Wheeler Curtis Heatmap (Imani Records; 2022)] Por Pachi Tapiz. JazzX5 #536 [Minipodcast de jazz]

“C(o)urses” [Caleb Wheeler Curtis Heatmap (Imani Records; 2022)] Por Pachi Tapiz. JazzX5 #536 [Minipodcast de jazz]

“C(o)urses” Caleb Wheeler Curtis Heatmap (Imani Records; 2022) Caleb Wheeler Curtis (sa, ss, comp); Orrin Evans (p); Eric Revis (b); Gerald Cleaver (bat) Tomajazz: © Pachi Tapiz, 2022 Escuchar Caleb Wheeler Curtis Heatmap: “C(o)urses” En anteriores episodios de JazzX5 / HDO / LODLMA / Maltidos Jazztardos / Tomajazz Remembers /JazzX5…

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[diyeipetea]

Caleb Wheeler Curtis Heatmap (Imani Records; 2022) Por Pachi Tapiz [Grabación de jazz]

Caleb Wheeler Curtis Heatmap (Imani Records; 2022) Por Pachi Tapiz [Grabación de jazz]

Heatmap (Imani Records; 2022), es la tercera grabación como líder del saxofonista neoyorkino Caleb Wheeler Curtis tras Brothers (2018), y Ain’t No Storm (2021), ambas publicadas en Imani Records. Además ha sido integrante y publicado grabaciones con el cuarteto Walking Distance y el trío Ember, y en este mismo 2022 publicaba Substrate (Unit Records) junto a Laurent Nicoud. Para esta nueva obra ha…

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[dustedmagazine]

Eric Revis — Slipknots Through A Looking Glass (Pyroclastic)

Slipknots Through A Looking Glass by Eric Revis

Don’t let the title mess with you; Eric Revis has not gone crap-metal on us. Closer analysis might restore discomfort, though, since the slipknot is the same as a noose knot, except that the loop is taken from the short end of an unevenly knotted rope rather than the long end. Imagine its mirror image, and see what comes next. If mental images of nooses are too much to bear, shift your attention to the record’s three-part title composition for another angle. Each iteration of Slipknots Through A Looking Glass comprises a dialogue between double basses, enacted before a backdrop of muted string sounds. The man hears himself, hearing himself, and so on…

The rest of Slipknots Through A Looking Glass is performed by a quintet formed from most of the musicians that played on two previous quartet records, In Memory Of Things Yet Seen and Sing Me Some Cry — alto saxophonist Darius Jones, tenor saxophonist Bill McHenry, pianist Kris Davis, and drummer Chad Taylor (Justin Faulkner subs on a couple tracks; that’s how it is when you play with people who are in high demand). This combo affords Revis-the-leader a wealth of tools, and he applies many of them over the course of eight ensemble tracks. The precisely charted drums, prepared piano, and unison horns on “Baby Renfro” create a matrix for bass and un-modified piano to trade terse phrases; it sounds like acoustic funk filtered through the memory of an anxiety dream. The manic charge of  Jones’ “Shutter” is a splendid launching pad for a sequence of freak-register solos by the saxophonists, and they know just what to do with such an opportunity. Taylor’s endlessly varied accompaniment veers away from the melody of “ProByte” and then cycles back, adding further tension to the piece’s alternation of extroverted horn solos with a restrained but intricately woven theme. And on “House of Leaves,” the band’s diverse elements are splayed out and reassembled, with Revis’ playing commenting on the process while Davis applies the glue.  

So maybe the album’s title isn’t so dire after all? Revis’ carefully knotted compositions reveal new facets as they progress, and still more as you listen, and think, and listen some more. Set a couple looking glasses to face each other and the process never stops. Neither does this record’s potential for reward.  

Bill Meyer

[lowspectrum]

A complex emotion

How did you come to jazz? To this question, I often find myself scratching my head and typically settle on a vague answer only made more vague by an impulsively apologetic shrug. “Well, you know, it just happened”. There was never any kind of jazz-related music playing around the house and even my childhood piano lessons didn’t put the genre on my radar the whole time I took them. It wasn’t…

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