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Being The Point

Ray Anderson's Organic Quartet

Being The Point

Price: € 17.95 12.57
Format: CD
Label: Intuition
UPC: 0608917131321
Catnr: INTCHR 71313
Release date: 20 March 2015
old €17.95 new € 12.57
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17.95 12.57
old €17.95 new € 12.57
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Label
Intuition
UPC
0608917131321
Catalogue number
INTCHR 71313
Release date
20 March 2015

""Being the Point is full of beautiful sounds. Ray Anderson here unfolds a wide range of styles and moods. A successfull production.""

wegotmusic.de, 22-7-2015
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Artist(s)
Composer(s)
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About the album

A resilient person par excellence who keeps bouncing back, who continues as ever to move through the winding paths of music business in 2015 with the same curiosity as always, taking on a number of projects untiringly and full of vitality and feeding his status as perhaps one of the most interesting, versatile jazz trombonists living todaym the trombonist Ray Anderson has now prepared a new sound and style menu: Ray Andersonʼs Organic Quartet.
It corresponds completely to an early gustatory impression. "In 1964, in other words when I was 12, I heard 'Back at the Chicken Shack' by Jimmy Smith for the first time. The sound of the Hammond organ electrified me so much that I had the urgent desire to play in such a band starting from that moment. However, it wasn't until 1998 that I founded the Lapis Lazuli Band with Amina Claudine Meyers on the organ." Another 17 years later, Anderson believes it is now time to put the instrument he so admires completely in the center of a band Authenticity is richly provided. No one less than Gary Versace plays the organ, the rising star per se on the 91 synchronously driven gearwheels picked up electromagnetically on the Laurens Hammond, who has played alongside of John Scofield, John Abercrombie, Al Foster, Regina Carter, Maria Schneider, Madeleine Peyroux and Matt Wilson. Steve Salerno (Jaco Pastorius, Bennie Wallace, Time Berne, Peter Erskine and Kenny Wheeler), a guitarist with a great reputation, provided the icing on the cake for the classic Hammond sound. Even the dominant father figure Jimmy Smith hangs over the Organic Quartet in the person of his nephew Tommy Campbell on drums. Ray Anderson has long been friends with Campbell, who already played the drums for Dizzy Gillespie when he was a young man. This resulted in extremely fruitful collaborations in the Lapis Lazuli Band and the Alligator Band
"Being The Point" reveals itself as a paintbox full of sounds, as a homogeneously conceived relationship between four musicians, in which the organ represents the perfect vehicle for the late realization of Ray Anderson's dreams as a young man. It is a sign of life on top of that from a musician, without whom jazz in the 21st century would certainly be a lot poorer.
Das Schicksal hat sich offenbar Ray Anderson als Versuchskaninchen ausgeguckt, ganz nach dem Motto: Was kann ein Mensch so alles aushalten? Mit Zwanzig durchkreuzte eine schwere Diabetes seine Zukunftspläne, Anfang der 1980er Jahre kam eine halbseitige Gesichtslähmung dazu, die 2010 zurückkehrte. Dann starb seine Frau nach langem Leiden an Krebs. Und als ob das alles nicht schon genug wäre, erkrankte auch der Posaunist selbst wenig später an Kehlkopfkrebs. All dies sowie mehrere Operationen und Bestrahlungen konnten den heute 62-Jährigen aber nicht brechen. Immer wieder kam er zurück, kämpfte erfolgreich um sein Leben und vor allem seine Musik. Ein Stehaufmännchen par excellence, das sich auch 2015 neugierig wie eh und je durch die verschlungenen Pfade des Musikgeschäftes bewegt, unverdrossen und voller Vitalität eine Reihe von Projekten in Angriff nimmt und auf diese Weise seinem Status als der vielleicht interessanteste, wandlungsfähigste lebende Jazzposaunist pausenlos neue Nahrung gibt.

Denn im unendlich dehnbaren Spektrum des virtuosen Bläsers aus Chicago erhalten Free, New Orleans, Funk, Neue Musik, Bebop, Rap, Bigband, Avantgarde und so manches mehr einen keineswegs kleinen gemeinsamen Nenner. „Musik ist für mich wie Essen“, sagt Anderson mit durchdringendem Lachen. „Sie ernährt mich, nicht nur finanziell. Manchmal möchte ich einfach etwas Anderes ausprobieren, statt Fisch einmal Pasta kosten, am nächsten Tag dann einen guten Salat und dann vielleicht ein Dessert. Mein Ziel ist es aber, immer den besten Fisch, die leckerste Pasta und den knackigsten Salat zuzubereiten.“ Getreu dieser Devise bereitet der Posaunist nun nach der spektakulären Kollektivverkostung seiner vielfältigen Projekte wie den Slickaphonics, BassDrumBone, der Alligator Band, dem Posaunenkollektiv Slideride, der Pocket Brass Band, der Lapis Lazuli Band sowie dem Hörgenuss mit namhaften Kollegen wie Mark Dresser oder Marty Ehrlich nun ein neues Sound- und Stilmenü zu: das Ray Andersonʼs Organic Quartet.

Es entspricht voll und ganz einer frühen geschmacklichen Prägung. „1964, also mit zwölf Jahren, hörte ich zum ersten Mal ´Back At The Chicken Shack` von Jimmy Smith. Der Sound der Hammond Orgel elektrisierte mich dermaßen, dass ich von diesem Moment an den drängenden Wunsch verspürte, unbedingt in einer solchen Band zu spielen. Es sollte aber noch bis 1998 dauern, bis ich die Lapis Lazuli Band mit Amina Claudine Meyers an der Orgel gründete.“ Weitere 17 Jahre später hält es Anderson nun an der Zeit, das von ihm so verehrte Instrumente vollends in den Mittelpunkt einer Band zu rücken.

Für Authentizität ist dabei reichlich gesorgt. Die Orgel bedient kein Geringerer als Gary Versace, der „Rising Star“ schlechthin an den 91 elektromagnetisch abgenommenen, synchron angetriebenen Zahnrädern des Laurens Hammond, der sich seine Sporen bei John Scofield, John Abercrombie, Al Foster, Regina Carter, Maria Schneider, Madeleine Peyroux und Matt Wilson verdiente.

Mit Steve Salerno (Jaco Pastorius. Bennie Wallace, Time Berne, Peter Erskine, Kenny Wheeler) sorgte ein Gitarrist von hoher Reputation für das Sahnehäubchen auf den klassischen Hammond-Sound. Und selbst Übervater Jimmy Smith schwebt in Person seines Neffen Tommy Campbell an den Drums über dem Organic Quartet. Mit Campbell, der in jungen Jahren schon für Dizzy Gillespie trommelte, verbindet Ray Anderson eine lange Freundschaft, die sich bereits in äußerst fruchtbaren Kollaborationen in der Lapis Lazuli Band sowie der Alligator Band niederschlug.

„Being The Point“ entpuppt sich als Farbkasten voller Klänge, als homogen konzipierte Viererbeziehung, bei der die Orgel das perfekte Vehikel für die späte Realisierung von Ray Andersons jugendlichen Träumen darstellt. Ein Lebenszeichen ist es obendrein. Für einen Musiker, ohne den der Jazz auch im 21. Jahrhundert unter Garantie ein Stück ärmer wäre.

Artist(s)

Ray Anderson

Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s. After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis) and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional...
more
Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s.
After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis) and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart).
Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russell and others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts.
Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in its tradition. Since 2003 he has taught and conducted at Stony Brook University.
Source: Wikipedia
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Composer(s)

Ray Anderson (trombone)

Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s. After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis) and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional...
more
Ray Anderson (born October 16, 1952) is a jazz trombonist. Trained by the Chicago Symphony trombonists, he is regarded as someone who pushes the limits of the instrument. He is a colleague of trombonist George Lewis. Anderson also plays sousaphone and sings. He was frequently chosen in DownBeat magazine's Critics Poll as best trombonist throughout the late 1980s and early 1990s.
After studying in California, he moved to New York in 1973 and freelanced. In 1977, he joined Anthony Braxton's Quartet (replacing George Lewis) and started working with Barry Altschul's group. In addition to leading his own groups since the late '70s (including the funk-oriented Slickaphonics), Anderson has worked with George Gruntz's Concert Jazz Band. In the '90s, he began taking an occasional good-humored vocal, during which he shows the ability to sing two notes at the same time (a minor third apart).
Anderson has worked with David Murray, Charlie Haden's Liberation Music Orchestra, Dr. John, Luther Allison, Bennie Wallace, Gerry Hemingway, Henry Threadgill, John Scofield, Roscoe Mitchell, Randy Sandke's Inside Out Band, Sam Rivers' Rivbea Orchestra, Bobby Previte, George Russell and others. Anderson is a member of Jim Pugh's Super Trombone with Dave Bargeron and Dave Taylor. He received a grant from the National Endowment for the Arts for a series of solo trombone concerts.
Anderson has frequently returned to his early love of New Orleans music for inspiration. His Alligatory Band and Pocket Brass Band, featuring tuba player Bob Stewart or sousaphonist Matt Perrine and trumpeter Lew Soloff, are rooted in its tradition. Since 2003 he has taught and conducted at Stony Brook University.
Source: Wikipedia
less

Press

"Being the Point is full of beautiful sounds. Ray Anderson here unfolds a wide range of styles and moods. A successfull production."
wegotmusic.de, 22-7-2015

"Being The Point proves to be a paintbox full of sounds, a homogenously designed quartet where the organ is the perfect vehicle for the late realisation of Ray Anderson's youthful dreams."
Radio Dreyeckland, 05-7-2015

"The music, that Ray Anderson plays together with the Organic Quartet, can always change and refine itselfe. It also has the potential to gain more and more depth. The Organic Quartet is for Ray Anderson the perfect formation to display everything that he has learned in his life so far, both stylistical and instrument wise." 
Jazzpodium, 01-6-2015

"Ther is nothing more to wish for. With Latin Jazz detours, ballads, dynamic themes and an exciting groove, Anderson & Co create a modern version of organ-combos that were popular in the 1960ths." Music 4 stars Sound 4,5 stars
Fono Forum, 18-5-2015

"Rarely Ray Anderson has sounded so relaxed and his new band wallows in southern soul-sound, that crackle full of expressiveness." 4 stars
Jazzthetik, 07-5-2015

"...Ray Anderson impressively demonstrated his joy for playing and his skills on this CD."
Jazzpodium, 04-5-2015

"With Latin Jazz, ballades, originals and an exciting groove, Anderson & Co create a modern version of the popular organ combos from the 1960ths." Music 4/5 Sound 3,5/5
Stereo, 04-5-2015

"Through the music glitters the infectious homor and incorrigible optimism of a true trombone author."   
Jazzflits, 27-4-2015

Ray Anderson does not imitate - with his mixture of motown and avantgarde, congo squares and hardbop, blues and great black music he creates a musically attitude that confinces with very current transformations.
Berliner Zeitung, 28-3-2015

The astonishing thing about this record is not only the variety of influences but the impressive logic that the old fox uses to combine all of them without loosing himself.
Jazzthing, 23-3-2015

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Come IN
Ray Anderson Pocket Brass Band

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