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(JazzPlanet) Chris Potter - Gratitude (Eac Flac Cue) (UF)

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Description

Chris Potter - Gratitude













Artist: Chris Potter

Title: Gratitude

Genre Jazz

Styles Contemporary Jazz, Modern Postbebop

Discs 1

Label Verve

Recorded at Avatar Studios, New York, 

on September 27 & 28, 2000. Includes liner notes by Chris Potter.

Release Date Apr 03, 2001





Extractor: EAC 0.99 prebeta 4 

Read mode               : Secure

Utilize accurate stream : Yes

Defeat audio cache      : Yes

Make use of C2 pointers : No

Codec: Flac 1.2.1;  Level 8  

image File.flac, Eac.log, 

File.cue 

Accurately ripped (confidence 5)

Source: Original CD 

Size Torrent: 445 Mb

Cover Incluse





Track Listing



   1  The Source (for John Coltrane)

   2  Shadow (for Joe Henderson)

   3  Sun King (for Sonny Rollins)

   4  High Noon (for Eddie Harris)

   5  Eurydice (for Wayne Shorter)

   6  The Mind's Eye Intro

   7  The Mind's Eye (for Michael Brecker-Joe Lovano)

   8  Gratitude (for all the Past Masters)

   9  The Visitor (for Lester Young)

  10  Body & Soul (for Coleman Hawkins)

  11  Star Eyes (for Charlie Parker)

  12  Vox Humana (for Ornette Coleman)

  13  What's New (for the Current Generation)









Personnel: 

Chris Potter (soprano, alto & tenor saxophones, alto flute, Chinese wooden flute, bass clarinet);

Kevin Hays (piano, Fender Rhodes piano);

Scott Colley (bass); 

Brian Blade (drums).





Preview all song



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video



http://www.youtube.com/watch?v=KZDtwKkH5ow&feature=PlayList&p=06C54C5BBFC8D2C8&playnext=1&playnext_from=PL&index=14







bio



Since childhood, saxophonist Chris Potter’s ability to take on numerous styles and influences has turned the
heads of fans and fellow musicians. He hit the New York scene in 1989, and quickly established himself as a saxophone
innovator steeped in tradition.



Born on January 1, 1971 in Chicago, Illinois, Joseph Christopher Potter moved to Columbia, South Carolina, as an infant.
While neither of his parents are musicians, they had an eclectic record collection in which Potter took a strong
interest. He cites his earliest musical influences as Bach, Stravinsky, Joni Mitchell, the Beatles, Miles Davis, Dave
Brubeck, Paul Desmond, and various types of folkloric music from around the world.



As a young boy, Potter tried to learn the piano by ear, and hoped to learn to play the guitar like Buddy Guy. At around
age ten, inspired by recordings of Charlie Parker and Paul Desmond, Potter set his sights on the saxophone. He has said
that he annoyed his parents daily, until they finally gave in to his wish.



Potter’s parents bought him a saxophone, on the condition that he take regular private lessons. He became so
comfortable with the instrument that by age twelve, he shared a stage at the National Association of Jazz Educators
convention with Paquito D’Rivera and Phil Woods. By age thirteen, he began performing professionally, with a
regular gig two nights a week. In high school, his ability was enough to impress trumpeter Red Rodney, who heard him
play at a local jazz festival, and pianist Marian McPartland.



After graduating from high school, Potter moved to New York in 1989, where he attended the New School for Social
Research for one year, and then Manhattan School of Music for two years. Almost immediately upon arriving in the city,
Rodney invited him to join his group, and he also performed with the Mingus Big Band, Ray Brown, Jim Hall, James Moody,
Mike Manieri, and Dave Douglas. In this period, he also recorded with Paul Motian, Marian McPartland, and Kenny
Werner.



Potter’s early experiences as a sideman allowed him to become firmly rooted in the jazz tradition by performing
music from all across the various subgenres of jazz. Alongside Rodney, Potter cut his teeth as a bebop musician
alongside one of the genre’s creators, who had played with Charlie Parker from 1949 to 1951.



Potter’s versatility and proficiency in many styles put him in high demand. He played often with the jazz-tinged
pop group Steely Dan, and later joined the band of Paul Motian, whose approach to composition and improvisation was less
rooted in traditional forms and harmonies, and often made use of collective free improvisation.



In 1991, Potter competed as a finalist in the Thelonious Monk Competition, coming in third behind two equally
outstanding saxophonists, Joshua Redman and Eric Alexander.



In 1992, Potter made his first recording as a leader on the Dutch label Criss Cross. In 1993, he recorded on Marian
McPartland’s album for Concord Records, In My Life. At her recommendation, Concord signed the young artist. He
recorded five albums for the label, which he viewed as a way to document the development of his composition as well as
his playing.



In the mid 1990s, Potter worked in two innovative groups, led by trumpeter Dave Douglas and bassist Dave Holland.
Douglas’s compositions allowed to improvise in more of a free manner: the music from this period is based on
gestures and mood as much as on chord changes. Dave Holland’s music, on the other hand, is generally
groove-oriented, and is often composed of unusual forms and odd or mixed meters.



As Potter began to lead his own touring groups and record as a front man, he drew heavily from these compositional
approaches. The high point of Potter’s work as a sideman was perhaps the period from 1999 to 2000. He was
nominated for a Grammy for best instrumental solo on Joanne Brackeen’s 1999 record Pink Elephant Magic.



A year later, Steely Dan’s Two Against Nature, which featured several Potter solos, won four Grammys. That same
year, 2000, Potter became the youngest recipient of the Danish Jazzpar Prize. The downside to this period in
Potter’s life was that he was diagnosed with Meniere’s disease, an inner ear disorder that has left him
virtually deaf in his left ear.



Potter signed with Verve Records, and released his debut for the label, entitled Gratitude, in 2001. Since Verve had the
money and the resources to send him on tour, he began to think about going on the road with his own music.



Gratitude was a pivotal album in Potter’s career, for it marked the start of a tremendously productive period as
a bandleader, and also cast him in a new light as an innovator steeped in the jazz tradition. Each track on the album
gives a contemporary approach to the style of a different jazz saxophone master, ranging from Coleman Hawkins to Michael
Brecker.



Since Gratitude, Potter has released one more album for Verve, and four on the Sunnyside label. With each one, his
approach evolves. His range of influences stands out in his body of solo work. As Gratitude demonstrates, past jazz
masters have influenced him heavily. What distinguishes Potter as an innovator is his ability to incorporate influences
not commonly heard in jazz.



Potter is an autodidact in classical music, but this background informs his approaches to improvisation and composition.
He cites Stravinsky and Bartok as influences, in terms of extended rhythmic and harmonic ideas. Polytonality and
polyrhythms are techniques that have been explored in classical music in the past century, but their compositional use
in jazz has been recent.



Potter’s classical approach to composition is very much apparent his 2007 recording of” Song For
Anyone,” in which he composed for a chamber ensemble consisting of violin, viola, cello, nylon string guitar,
flute, clarinet, and bassoon, tenor saxophone, drums, and bass.



On his recent recordings, Potter’s improvised solos often incorporate motives that don’t belong to any
specific key, and acknowledge his interest in the 20th-century classical veins of atonality, serialism, and twelve-tone
music.



Always one for surprises, in 2006 Potter released Underground. This funk and rock-tinged album also includes mixed-meter
compositions and rhythmic cycles reminiscent of his time in Dave Holland’s quintet, yet also hints at
Stravinsky’s ballets and Indian classical music.







review



The supremely gifted saxophonist Chris Potter is probably best known for his work with bassist Dave Holland and
trumpeter Dave Douglas among others. Gratitude (which doesn't feature anyone called Dave) is a summation of his
influences, with each track dedicated to a saxophone master. Perhaps the fact that this is his debut for Verve (a
classic jazz imprint if ever there was) has something to do with this acknowledgement to jazz tradition, but Potter is
undoubtedly sincere in his intentions and has the talent to pull it off.



Though each track has some trace of its dedicatee, Potter hasn't gone for slavish imitation ('tonight Matthew, I'm going
to be Lester Young'). Opening with a sweet bluesy blast for John Coltrane, he goes on to adapt a Joe Henderson tune for
"Shadow", a lazily funky outing redolent of the tenor player's classic Milestone albums; Kevin Hays' expansive Fender
Rhodes is a particularly effective springboard for the leader's tenor explorations.



Potter's most discernible influence is Sonny Rollins; he shares Rollins' rhythmic precision and urgency and consequently
his tribute to the great man (a particularly tricky exercise in 15/8) brings out some of his most buoyant, joyful
playing. Likewise "High Noon" (for Eddie Harris") is a lovely slice of langorous, slightly sweaty funk, with drummer
Brian Blade (recently heard performing miracles with Wayne Shorter) on top form, chopping bar lengths with surgical
precision without sacrificing the groove.



A couple of standards appear too; Potter wisely opts for bass clarinet on "Body and Soul", played as a duet with bassist
Scott Colley (dedicated to Coleman Hawkins) and in the process comes up with an original take on ye olde tenor warhorse
which doesn't sound like Eric Dolphy - no mean feat. He switches to alto on "Star Eyes" (unsurprisingly dedicated to
Charlie Parker), shoehorns it into 7/4; and it works too, with some desperately exciting seat of the pants interplay
between alto and drums.



Not quite a standard is "The Visitor", where Potter takes a trademark Lester Young phrase and bases a composition around
it; the results are more Dave Holland than Prez, though there's a tinge of the Porkpie Hat in Potter's generous,
sparkling solo. "Vox Humana" is an impressionistic tone poem for Ornette Coleman, featuring Chinese wood flute and
soprano; inspired by Ornette's comment on the saxophone's similarity to the human voice, Potter's playing again evokes
Coleman's spirit in some way without sounding much like him.



While Chris Potterisn't out to change the course of jazz history, he doesn't suffer from a Marsalis-like tendency to
preserve it in aspic either. This album is more evidence (if it was needed) of a major talent. Inspired, beautifully
played mainstream jazz, and thoroughly recommended.

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