Paul Jeffrey - Watershed 2017

Paul Jeffrey - Watershed (1971)

Жанр: Post-Bop
Носитель: CD
Страна-производитель диска (релиза): Japan
Год издания: 2017
Издатель (лейбл): Time/Mainstream Records/Solid Records Japan
Номер по каталогу: CDSOL-45227
Аудиокодек: FLAC (*.flac)
Тип рипа: tracks+.cue
Битрейт аудио: (lossy + lossless)
Продолжительность: 43:34
Источник: другой
: да
Треклист:

01. Minor Scene (5:20)

02. Brand New Day (6:02)

03. Love Letters (5:45)

04. Moon Madness (5:57)

05. Brand X (5:22)

06. My Son (8:20)

07. Geometric Blues (3:49)

08. Serenity (3:00)
Personnel:
Paul Jeffrey - sax
Jack Wilkins - g
Richard Davis - b
Thelonious Monk, Jr. - d

Notes
'Recorded in 1971, according to Jack Wilkins.' -jazzdiscography
Inside gatefold:
℗ 1972 Mainstream Records
On labels:
A Red Lion Production
Trade Mark of Red Lion Productions, Ltd., Inc.
A Product of Mainstream Records, Inc. * 1700 Broadway * New York, N.Y. 10019 * Made in USA
℗ 1973 Mainstream Records

Несколько слов на английском
An unusual sort of setting for tenor saxophonist Paul Jeffrey - an overlooked player from the east coast scene of the early 70s, and one who only cut a handful of records at the time! The date features Jack Wilkins on guitar, playing with these bright chromatic hues next to Jeffrey's sharper horn - a pairing that makes for an unusual sound, despite a familiar quartet setting - one that's even different from other matches of this nature, such as the work between Sonny Rollins and Jim Hall! Jeffrey's clearly got some bop roots here, but also opens up in other directions too - and the group features Thelonious Monk Jr on drums and Richard Davis on bass.
The second of two albums that tenorist Paul Jeffrey recorded as a leader for the Mainstream imprint, Watershed from 1973 forgoes the ambitious logistics of its predecessor for an intimately pared down quartet format. A longtime confrere of Sonny Rollins, Jeffrey was between prestigious gigs with Thelonious Monk at the time and had guested on drummer Charles Moffett’s solo effort for the Savoy label back in 1969, but his recording opportunities were otherwise few. That relative paucity doesn’t seem justified given the merits of this date, which fixes Jeffrey’s fluid and felicitous horn up with a very responsive rhythm section.
Bassist Richard Davis is the best known amongst the crew, switching between chugging pizzicato and magisterial arco with a subtle amplification that doesn’t detract or distract from the tonal clarity of his strings. Guitarist Jack Wilkins bridges past and present approaches on his instrument with a fleet single-note facility joining an adroit affinity for dime-turning octaves, cleanly constructed chording. Jeffrey’s Monk connection is personified in the presence of Thelonious Monk, Jr. on drums. All eight pieces are originals by the leader, each tailored to emphasize both ensemble and individual expression sans fat or excessive ornamentation in favor of lean swing.
“Minor Scene” pivots off a shifting key center and a galloping tempo. Jeffery solos with full-throated authority with Wilkins’ incisive chording and Davis’ sprinting fingers driving him along. Wilkin’s builds a wickedly fast solo from octaves and single-notes with Davis’ shadowing his breakneck runs before peeling off for a sprint of his own. “Brand New Day” and “Love Letters” lend tactile contrast through leisurely ballad pacing, but Davis’ dark arco etchings on the former give the tune an intriguing element of concealed menace. Jeffrey solos emotively on each with fluttering, gravity-nullifying phrases spilling liberally from the bell of his horn.
Of the other numbers, “Moon Madness” and “Brand X” are standouts. Davis ups the stakes on the former with a massive presence that sacrifices nothing in the way of speed or clarity. Jeffrey sounds inspired by the ensuing obstacle course, his patterns gaining both density and urgency around Wilkins’ connect-the-dots chords. The latter achieves a similar hat trick of speed and concentrated cross-hatching of contrapuntal lines. “My Son” is predictably tender and heartfelt with Monk turning to brushes and Wilkins going for maximum pulchritude in his picking alongside the leader’s lush tenor articulations of paternal love. An unaccompanied coda proves particularly affecting. Jeffery never made the big time on his own steam, but what he left behind suggests that outcome should have been otherwise.