1 CD
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€ 19.95
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Label Mack Avenue |
UPC 0673203119222 |
Catalogue number MAC 1192 |
Release date 26 November 2021 |
"...considering the qualities of the musicians it has of course become an extremely pleasant album to listen to. An extremely successful album, no fusion, no electronics, no free jazz, just fine jazz with a lot of swing and musical highlights!"
Rootstime, 20-1-2022In the 1960s, when the Civil Rights Movement achieved its greatest moments, gifted bassist and composer Christian McBride was not yet born. As a child in the 1970s, he learned the history of the movement in school, but due to a quirk of fate – his grandmother’s fortunate propensity for saving old things – he found another source of information that spoke to him on a more emotionally accessible level than history books.
“When I was a kid, I used to spend hours looking at old copies of Ebony and Jet magazines that my grandmother saved,” he says. “To read contemporaneous writings by black writers about events and people who were my history – our history – that was absolutely fascinating to me. It was the greatest gift my grandmother could have given to me.”
That gift played a major role in the creation of The Movement Revisited: A Musical Portrait of Four Icons, McBride’s stunning masterpiece about “the struggle,” which is now a 20 year-long, continuously evolving project. The work combines elements of jazz, gospel, big band, swing, symphony, theater and dramatic spoken word, in a clear-eyed yet optimistic look at where our society has come from and where it is hopefully headed.
Born in Philadelphia, McBride was a gifted musical prodigy who soaked up influences from every direction. At the tender age of 17, he was recruited by saxophonist Bobby Watson to join his group, Horizon. During the 1990s, he proceeded to work with some of the biggest names in jazz, including Pat Metheny, Wynton Marsalis, Freddie Hubbard and Chick Corea as well as major pop and rock stars like Sting, Paul McCartney, James Brown and Celine Dion. His abilities were also coveted by the classical music world, including opera legends Kathleen Battle and Renee Fleming.
In 1998, a musical commission from the Portland (Maine) Arts Society set in motion what would eventually become a major part of his life’s work. The only stipulation for the commission was that it had to include a choir. “At that time, I called it a musical portrait of the Civil Rights Movement,” Christian says. “I thought about those times and decided that rather than try to write a history of the movement, I wanted to evoke its spirit and feeling.”
Warren Wolf is a multi-instrumentalist from Baltimore,MD. From the young age of three years old, Warren has been trained on the Vibraphone/Marimba, Drums, and Piano. Under the guidance of his father Warren Wolf Sr., Warren has a deep background in all genres of music.
Beginning with classical music, Warren had studied classical composers from Bach, Beethoven, Mozart, Paganini, Brahms, Vivaldi and Shostakovich. Warren also studied ragtime music learning music from the songbooks of Scott Joplin, Harry Brewer and Geroge Hamilton Green. In Jazz, Warren has studied artist and composers from Charlie Parker, Miles Davis, Duke Ellington, Louis Armstrong, Freddie Hubbard, Clifford Brown, Herbie Hancock, Oscar Peterson, Milt Jackson, Bobby Hutcherson, Cal Tjader, Return to Forever, Weather Report, Wynton Marsalis and many others.
Warren attended the Peabody Prepatory for eight years studying classical music with former Baltimore Symphony Orchestra member Leo LePage. During his high school years at the Baltimore School for the Arts, Warren studied with current Baltimore Symphony Orchestra member John Locke. After graduating from Baltimore School for the Arts in June of 1997, Warren headed north and enrolled at the Berklee College of Music in Boston,MA.
In the 1960s, when the Civil Rights Movement achieved its greatest moments, gifted bassist and composer Christian McBride was not yet born. As a child in the 1970s, he learned the history of the movement in school, but due to a quirk of fate – his grandmother’s fortunate propensity for saving old things – he found another source of information that spoke to him on a more emotionally accessible level than history books.
“When I was a kid, I used to spend hours looking at old copies of Ebony and Jet magazines that my grandmother saved,” he says. “To read contemporaneous writings by black writers about events and people who were my history – our history – that was absolutely fascinating to me. It was the greatest gift my grandmother could have given to me.”
That gift played a major role in the creation of The Movement Revisited: A Musical Portrait of Four Icons, McBride’s stunning masterpiece about “the struggle,” which is now a 20 year-long, continuously evolving project. The work combines elements of jazz, gospel, big band, swing, symphony, theater and dramatic spoken word, in a clear-eyed yet optimistic look at where our society has come from and where it is hopefully headed.
Born in Philadelphia, McBride was a gifted musical prodigy who soaked up influences from every direction. At the tender age of 17, he was recruited by saxophonist Bobby Watson to join his group, Horizon. During the 1990s, he proceeded to work with some of the biggest names in jazz, including Pat Metheny, Wynton Marsalis, Freddie Hubbard and Chick Corea as well as major pop and rock stars like Sting, Paul McCartney, James Brown and Celine Dion. His abilities were also coveted by the classical music world, including opera legends Kathleen Battle and Renee Fleming.
In 1998, a musical commission from the Portland (Maine) Arts Society set in motion what would eventually become a major part of his life’s work. The only stipulation for the commission was that it had to include a choir. “At that time, I called it a musical portrait of the Civil Rights Movement,” Christian says. “I thought about those times and decided that rather than try to write a history of the movement, I wanted to evoke its spirit and feeling.”
...considering the qualities of the musicians it has of course become an extremely pleasant album to listen to. An extremely successful album, no fusion, no electronics, no free jazz, just fine jazz with a lot of swing and musical highlights!
Rootstime, 20-1-2022
McBride, as always, is strong-fingered and nimble, attaining a remarkable variety of tonal colorations while maintaining his rhythmic sureness even as he bends, twists, and contorts the tunes’ metric structures to his own ends: a paradigm of unforced, unselfconscious virtuosity.
Jazztimes, 15-12-2021
The music as a whole swings and grooves, impressing with its unity and its wonderfully flowing and stirring melodies.
KultKomplott, 29-11-2021
The themes are sometimes put down with some impatience, after which McBride and percussionist Carl Allen go like animals swinging and the soloists appear one by one like little thumbs from a box.
jazzflits, 15-11-2021
It swings from start to finish with a special note for the boiling “Stick & Move”
Jazzmania, 15-11-2021
It swings from start to finish
Jazzhalo, 12-11-2021
From the "Fair hope theme"..... one can hardly get enough. But Wilson's "Ms. Angelou"..... shines and shimmers like something out of this world.
Jazzthing, 01-11-2021