Joe Morris Bass Quartet - High Definition (2008)

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Joe Morris Bass Quartet - High Definition (2008)

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Torrent info

Name:Joe Morris Bass Quartet - High Definition (2008)

Infohash: 7D3DB794256BEE31E67934E52B4D7A0DBF2EE785

Total Size: 344.01 MB

Seeds: 39

Leechers: 9

Stream: Watch Full Movie @ Movie4u

Last Updated: 2011-04-24 09:52:24 (Update Now)

Torrent added: 2011-04-23 11:35:03






Torrent Files List


01 - Skeleton.flac (Size: 344.01 MB) (Files: 19)

 01 - Skeleton.flac

48.94 MB

 02 - Morning Group.flac

59.17 MB

 03 - Land Mass.flac

52.75 MB

 04 - Topics.flac

43.05 MB

 05 - Bearing.flac

18.96 MB

 06 - All-In-One.flac

50.93 MB

 07 - Super Spot.flac

27.47 MB

 08 - The Air Has Color.flac

32.09 MB

 back.png

1.57 MB

 booklet_1.jpg

80.64 KB

 booklet_2.jpg

35.78 KB

 booklet_3.jpg

90.14 KB

 CD.png

1.76 MB

 cover.jpg

370.44 KB

 cover.png

2.50 MB

 folder.jpg

17.49 KB

 front.png

4.21 MB

 info.txt

22.31 KB

 Torrent downloaded from Demonoid.me.txt

0.04 KB
 

Announce URL: http://inferno.demonoid.me:3419/announce

Torrent description

hatOLOGY 670
http://www.hathut.com/home.html?content=ology-content.html

* Taylor Ho Bynum: cornet, trumpet, flugelhorn
* Allan Chase: alto saxophone, baritone saxophone,
. soprano saxophone
* Joe Morris: double bass
* Luther Gray: drums

Homepage:
~~~~~~~~
http://www.joe-morris.com/

Review
~~~~~~
http://www.allaboutjazz.com/php/article.php?id=31340

By TROY COLLINS
Published: December 16, 2008

One of todays most iconoclastic jazz guitarists, Joe Morris is a staunch tonal
purist whose crisp, spidery cadences and blistering angular runs are legendary
in the jazz underground. Seeking new avenues for expression, Morris added
upright bass to his instrumental arsenal in 2000. Since then, he has split his
time between leading his own ensembles as a guitarist and playing bass as a
sideman with fellow artists Rob Brown, Whit Dickey, Steve Lantner, Daniel Levin,
and Matthew Shipp.

High Definition is a paradigm shift for Morris; this is his first session
leading an ensemble as a bassist. Joined by longstanding drummer Luther Gray,
Morris enjoys the steadfast support of a like-minded veteran. With the animated
front-line of cornetist Taylor Ho Bynum and saxophonist Allan Chase, they offer
a varied program of piano-less quartet traditions; vibrant West Coast styled
arrangements and folksy Ornette-ish lyricism alternate with probing,
experimental detours that border on Ayler-esque cacophony.

Morris expansive writing straddles the tenuous line between inside and outside
aesthetics with graceful fluidity, allowing ample solo space for each member of
the quartet. With their infectiously knotty themes, harmonic sophistication, and
lilting syncopation, Skeleton, Land Mass, and All-In-One feature ebullient
melodies, rich chord changes, and spry rhythmic patterns. Tunes like Morning
Group, Topics, and Super Spot head further out, embracing fluctuating
tempos and unfettered polyphony.

An invigorating front-line voice, Bynums blustery excursions evoke every aspect
of the jazz tradition, from crisp hard-bop precision to elliptical cadences that
bristle with pungent slurs, whinnies, and growls. An incisive conceptualist, his
coruscating smears on Land Mass and The Air Has Color are both caustic and
strangely tuneful. His rousing thematic variations on Topics reveal masterful
technical virtuosity while his muted musings on the dulcet tone poem Bearing
reflect a composers sense of restraint.

A deft and under-sung multi-instrumentalist, Chases kaleidoscopic contributions
make him a perfect foil for Bynums earthy elicitations. His baritone resounds
with pneumatic muscularity on Skeleton and All-In-One, while his alto veers
from circuitous fervor on Topics to acerbic volatility on Morning Group. He
demonstrates a lyrical streak on Bearing and The Air Has Color, unfurling
sinuous soprano fragments.

Morris elastic melodic contours and Grays impeccable timing weave a mosaic of
effervescent momentum as their finely honed conversational interplay provides
direction to even the most nebulous passages. Sounding confident and inspired,
Morris solos on almost every tune, unveiling a robust tone and supple
phrasing. Gray demonstrates a wide dynamic range, veering from the roiling
assault of Super Spot to lithe percussive shading on Bearing.

High Definition opens a promising new chapter for Morris as a bandleader. No
longer limited in his choice of instrumentation as an ensemble leader, this
radiant session reveals new vistas for exploration from one of the most creative
minds of his generation.

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