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hot reviews
get happy - joe kennedy, royce
campbell, paul langosch
persistencia ~victor prieto
at the end of the day
"voted one of the
best albums of 2005" -all about jazz-ny
f the best albums of 2005" -all about jazz-ny
review:
"drummer, composer alison miller followed with a strong set
featuring her new quartet agrazing maze, including bassist carlo
derosa, pianist enrique haneine, and the celebrated trumpeter ingrid
jensen, who kicked off her shoes halfway into the first number. the
group锟絪 five tunes segued into one another, layering swirling solos
with fragmented bits of latin flavor, abstract funk, an ethereal
kenny wheeler-esque ballad for flugelhorn, and a kick-out-the-jams
trumpet-drum duet on heneine锟絪 锟絞erber blender.锟?br>
larry appelbaum-jazztimes magazine
review:
at the end of the day is a very fine effort by a core trio of piano,
bass, and drums, augmented by trumpet on some tracks. what is
immediately clear is that the trio is very tight and has developed a
high degree of communication. technically, pianist enrique haneine
and drummer allison miller are first-rate, to say the least. i would
include carlo derosa also, but he is recorded a bit back in the mix
and hence his contributions are not as obvious (but such is a
bassist锟絪 lot in life, i suppose).
the tracks are all originals, except wayne shorter锟絪 锟絥efertiti,锟?and
the connections between original and 锟絚over锟?are far from obvious.
stylistically, the group presents many faces, from the driving swing
of 锟? am stroll锟?to very free playing in 锟絞erber blender.锟?br>
a lot of the tunes involve constantly changing meters, which, unless
you are a drummer, can be easy to miss.
you are a drummer, can be easy to miss.
the only reason i can say this is that i asked for and got a lot of
detail about the tracks from derosa.
much of the music has an unsettled quality whereby you can feel a
pulse which is not really there, and where phrases are of odd lengths
that make sense in an unusual way, a feeling of flux and change that
makes for good listening.
this is not to say that this is 锟絠ntellectual锟?jazz, but there is a
lot of complexity going on underneath that is hidden, but still
present to add in a specific way to the mood of a particular track.
the thinking isn锟絫 supposed to show, and only a group that has worked
together closely can create this level of art as artifice that is
nonetheless emotionally accessible.
hearing agrazing maze in a club would be an exciting experience, even
if the group was doing a tour promoting at the end of the day, because
there would be a good chance that not much would be played anything
close to what is laid down here. the charts have been internalized
and the group members have the real freedom to explore themselves
and the group members have the real freedom to explore themselves
within the framework they have erected. their music, although fitting
into today锟絪 esthetic, sounds entirely unique, and as such, is an
achievement. this is album continues to reward the sensitive listener
even after
many listens, and it's easily recommended.
budd koppman -all about jazz.com
review:
agrazing maze | foxhaven records
by elliott simon
at the end of the day is a refreshing modern jazz statement with
strong original compositions from its nucleus of bassist carlo derosa,
pianist enrique haneine, and drummer allison miller. contrasting
grooves are united by the musicians锟?sparkling percussive twists and
turns.
the title piece is a haneine composition that, with its relaxing
piano-led tempo, would be a most welcome respite for one锟絪 cerebral
regrouping after a long day. a second wind, however, is provided by
derosa锟絪 invigorating bass solo, which serves to rejuvenate the psyche
in preparation for the physical demands of miller锟絪 briskly moving 锟?
am stroll.锟?in addition, haneine contributes the sprightly percussive
锟絞erber blender锟?and the delightfully open 锟絯e apologize for the
inconvenience.锟?the former titillates with varying thematic content
and textures courtesy of derosa锟絪 arco work and miller锟絪 percussive
toys, while the latter features shane endsley's sharp overdubbed
trumpet lines.
derosa also supplies three originals which highlight
his newly developed rhythmic affiliation with miller
and allow endsley to reveal both his versatility and
keen sense of time. 锟絟b锟?begins in unhurried fashion
with leisurely trumpet lines before haneine
significantly picks up the pace. endsley eventually
returns, but derosa quickly shepherds the piece in a
different direction. the trio reconvenes with
endsley
to retrace its way home.
锟絝orotto锟?is a joint venture in changing meter that is
beautifully colored by both piano and trumpet; it sets
the stage for the pensively free 锟絘 phrase.锟?with a
melodic latin twist on sonny rollins锟?锟絧ent-up house锟?br>
and a freeformish restatement of wayne shorter锟絪
锟絥efertiti,锟?at the end of the day, with its stylistic
breadth and solid rhythmic core, is musically apropos
any time, any day.
able't know you to be using it will be there to see the video to see what you have to
I don't
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