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| Clark Terry With Jeff Lindberg And The Chicago Jazz Orchestra Porgy & Bess Americana Music announced the release of Porgy & Bess, the extraordinary pairing of legendary trumpeter/flugelhornist Clark Terry with Jeff Lindberg and the Chicago Jazz Orchestra. This CD is the first for new label Americana Music, and is manufactured and distributed through A440 Music Group. True works of art are timeless, unique entities that stand alone, beyond attempts to reinterpret, reproduce or even reconsider. It could be argued that the Gil Evans/Miles Davis classic interpretation of the George Gershwin music opera Porgy & Bess has been viewed that way since its celebrated release in 1958, because no major jazz figure has attempted to re-record the musical suite…until now. Less than 30 seconds into this new and ambitious recording, as Clark Terry's vibrant tone rings over the familiar orchestration on “Buzzard Song,” one will immediately realize that this new recording will be making new and important contributions to this legendary score. In many ways, the two trumpet giants are a study in contrasts. Miles was enigmatic, intimidating, sometimes unapproachable, and always in the forefront of establishing some new direction for modern music. Clark, on the other hand, is warm, inviting, charming, ebulliently witty and humorous, and has often eschewed the limelight to make contributions to legendary masters like Duke Ellington and Count Basie, perform as a sideman with a veritable Who's Who of jazz history, and lead small groups of his own, and for many years in partnership with trombone master Bob Brookmeyer. What both men have in common is that they each possess a totally distinctive sound, immediately recognizable upon hearing them. And, of course, their improvisational abilities are as fine as any other trumpeter in jazz, past or present, both expressing the entire tradition of the instrument in their playing. From the opening strains on “Buzzard Song,” Clark’s trumpet shakes the listener's emotional core, setting the stage for this passion play. And from the very first bars of that track, the orchestra demonstrates that it’s bringing all of its power, energy and focus to the music. Daniel Anderson’s nimble and articulate tuba solo is also a highlight. The remarkable interpretations of the classic ballads are also major accomplishments here. Terry's brilliant phrasing, warmth and lyricism bring new perspectives on ancient wisdom in these familiar songs. “Bess, You Is My Woman Now” receives a moving rendition of the beautiful theme with deliciously bent notes and a purity of tone. “Gone, Gone, Gone's” curtain-like orchestral density is penetrated by Terry's piercing trumpet like rays of sunshine tearing through dark clouds. His full-bodied solo trumpet encourages the orchestra on “Bess, Oh Where's My Bess,” then tears through beautiful orchestral patterns, slipping into a short jaunty solo before returning to the lovely melody. On “My Man's Gone Now,” Clark's trumpet communicates visceral emotion, singing boldly over the evocative arrangement, but swinging joyously in a brief solo. A gorgeous rendition of the standard “I Loves You, Porgy” is filled with a passion that is both elegant and earthy, marked by a fiery solo by Clark and a fine brief alto interlude by John Wojciechowski. But the real gem of this album may be the least known of the opera’s ballads, “Fisherman, Strawberry and Devil Crab,” where Clark delivers a smooth wave of emotion from his instrument so beautifully, it can bring tears to your eyes. The remaining tracks run the gamut of emotions and rhythmic variety. The oft-played “Summertime” displays another contrast with Miles' signature Harmon mute style. Clark's approach is bouncy, playful and infectiously grooving, stoked by Evans’ repetitive, driving horn lines. ”Prayer (Oh Doctor Jesus)” is another lesser known song from the original suite where Clark truly shines and breaks new ground. Here, his solo delivers a bluesy, weary plea , backed by a darkly lustrous, call-and-response brass choir that gradually builds in dense layers like an approaching thunderstorm, culminating with an explosive crescendo. The more familiar “It Ain’t Necessarily So” has a somewhat gospel-ish feel in its buoyant theme, with Clark’s trumpet singing in a nasty groove. The brief, colorful “Here Come De Honey Man” provides an exotic arrangement with a somewhat Middle Eastern modality and features Clark's unique vocalizing. A pair of up-tempo, richly swinging pieces are also included. Jeff Lindberg and the Chicago Jazz Orchestra bring verve and punch to Gil Evans’ “Gone,” propelled by George Fludas’ energetic drumming. Clark's warmly effervescent flugelhorn is featured here, joined by veteran Chicago brassman Art Hoyle in a jubilant flugelhorn duet. “There's a Boat That's Leaving Soon for New York” is a bouncy, infectiously rhythmic piece with Clark's trumpet dancing through the boppish chart, ending the album on an upbeat note. Not much can be said about Gil Evans' classic Porgy & Bess arrangements that hasn't been said before. They are some of the finest orchestral scores in the history of jazz and modern music. However, Jeff Lindberg and the Chicago Jazz Orchestra bring a freshness and richness to the music that cannot be overlooked. The CJO recently celebrated its 25th anniversary, and the band features a deep roster of talented musicians committed to playing and creating great music. This world-class orchestra provides the perfect backing for Clark Terry to deliver a glorious interpretation of the music. This new CD promises to be a milestone recording that should enhance Clark Terry’s legendary status and bring the CJO the long-awaited recognition and accolades it so richly deserves. write your comments about the article :: © 2004 Jazz News :: home page |