#v.s.o.p.

[tha-wrecka-stow]

Visit Original Link

You Can Find The Remix Featuring Young Jeezy -> Here

[tha-wrecka-stow]

Visit Original Link

You Can Find The Original Version -> Here

[alcoman]

I got this fancy crystal for my beverages

[redmcc]

[stuffsandthangs]

Herbie Hancock - Hang Up Your Hangups V.S.O.P. Live

[dustedmagazine]

Gulf Coast Jazz: Wade in the Water (V.S.O.P.)

Postbop in New Orleans of the late1950s was very nearly an idiomatic non-entity. Traditional jazz forms steeped in Dixieland and Second Line were then and remain today the backbone of musical expression for the city and the region. That disparity relegated the American Jazz Quintet to a position on the periphery for much of its existence. A single album released in 1959 served as its sole commercial entry prior to a 1991 reunion released on the Italian Soul Note label. In the interim, three band members- pianist Ellis Marsalis, clarinetist Alvin Batiste and drummer Ed Blackwell- became jazz icons.

Wade in the Water is the second of two archival releases on the V.S.O.P. imprint highlighting formative recordings contemporaneous with the quintet’s debut. As a seminal bridge between traditional and modern jazz idioms, their discography was at odds with their import from the start. Marsalis, Batiste and Battiste share arranging and the program draws heavily on a program of spirituals along with a small handful of originals. As with the earlier collection, Blackwell establishes himself early as an MVP, the fluid approach to drumming that he was in the process of formalizing with Ornette Coleman already in place.

The disc’s title piece lopes along on a strong bass stride by Payne parsed by Blackwell’s clipped cymbal accents as the horns glide gregariously through the otherwise melancholy theme. Battiste’s tenor solo tips into Coltrane territory as swerving syncopations thread through the beat and into a tasty dialogue between walking bass and drums. “Lil’ David” bounces along on a taut unison head and shifting tempo signals once again fielded by Blackwell’s deft stick play. A hot, trill-punctuated extemporization by Battiste leads into a string of even more explosive exchanges between Blackwell and Batiste’s fluttering clarinet.

Blackwell’s melodic facility gets a generous showing on “I Got Shoes” following a booming bass statement by Payne with a barrage of precision press rolls that would make Art Blakey envious. The band’s race through “When the Saints…” and a bit later a slower stroll through “Nobody Knows the Trouble I’ve Seen” demonstrate that while their interests veer comparatively modern they’re still a Crescent City creation at the core. Batiste’s lively clarinet shows neither anthemic melody any mercy, wringing maximum emotion out of each.

Marsalis takes a place of greater prominence starting with Batiste’s “Nigeria”, his bright, sturdy comping keeping easy pace with the composer’s tart-toned improvisation. He’s also integral to the three originals that take the disc to terminus, jousting joyously with the horns on “Valse de Batiste” and digging deep into a deftly-deployed gospel bag on “Harold’s Church” where the composer’s big, bruising tenor belts for the belfry rafters. “Selassie” brings it all back to the blues in a minor-key groove with Blackwell once again driving a staggered beat that’s crooked in all the right places after patiently sitting out the first several choruses for Swanson’s benefit.

Derek Taylor

[anamon-book]

モダン・ジャズ読本’78　スイングジャーナル 1977年11月臨時増刊 表紙イラスト：V.S.O.P.クインテット＝山下秀男

[encyclopediedujazz]