Alan Broadbent Trio Live At Giannelli Square: Volume 1 (Chilly Bin). No outer space explorer, Broadbent finds in the song form all that he needs for freedom earned through discipline. The technique he has intensified in recent years is evident in the precision and relaxation of his counterpoint in “Lullaby of the Leaves,” stunning parallel constructions, speed and independence of hands in “Solar” and in dozens of other demonstrations of his skill. Broadbent’s music, however, is not about chops. He concerns himself with beauty. The manifestations of it include his poignant reharmonization of “Embraceable You,” called here “You and You Alone.” Broadbent’s longtime sidemen, bassist Putter Smith and drummer Kendall Kay, are strong and sensitive in support.
CD: Alan Broadbent
December 22, 2010 by
The nonagenarian pianist presented de Barros with every biographer’s hope, unrestricted access to his subject’s personal papers and nearly unrestricted access to her private thoughts. He made the most of it, turning exhaustive research and hundreds of hours of interviews into a true story with the sweep of a novel. From the early discovery of McPartland’s musical gift through her wartime service, her ecstatic and stormy marriage to Jimmy McPartland, her growth as a pianist, her deep affair with Joe Morello, and the radio show that made her a national figure, she has had a fascinating life. It makes a splendid read.
Mulligan’s Concert Jazz Band had three fewer musicians than most big jazz outfits. Its size permitted precision, flexibility and subtlety, yet the band had the power of sprung steel. In this concert from a half century ago, the CJB is as fresh as yesterday. Arrangements by Mulligan, Bob Brookmeyer, Al Cohn and Johnny Mandel set standards to which big band writers still aspire. Bassist Buddy Clark and drummer Mel Lewis inspired Mulligan, Brookmeyer, Conte Candoli, Gene Quill and Zoot Sims to some of the best soloing of their careers. This beautifully produced issue of the complete concert is a basic repertoire item.
I was pleased to see that you feel about the new Alan Broadbent as I do.
I think he’s always been great but yet it seems like his playing inhabits a new, more rarified, level of superiority for the past three years or so. Though his playing in no way resembles (stylistically) Hank Jones or Tommy Flanagan or Kenny Barron, I sure do think of him as a player of that kind of excellence.
This might sound like nit-picking but I don’t mean it as such: you referred to his version of ‘Embraceable” as being reharmonized, yet the foreign harmony only shows up as a scant two chords—each one bar long—at the very top of the track, and doesn’t happen again on any successive choruses. (However, catching those two bars entitles you to a one year membership in Excellent Lobes Organization).
His chords are just the standard treatment most bebop-ingrained progeny of Bird would use. But—and this is yet another aspect of his artistry—he’s seating real pregnant money notes on the harmonies, and his improv is making lovely little songs as he goes along.
It took Amazon a couple of months to get it to Coquitlam, BC, but I finally have my copy of “Live at Giannelli Square Volume 1″. I have enjoyed Alan Broadbent’s playing since hearing him with Charlie Haden’s Quartet West and as accompanist to Irene Kral. What a wonderful recording this is with excellent music and great sound quality.
I hope Vol. 2 is on the way shortly. And thanks to you for the heads-up.
Beautiful, informative review of a gorgeous recording, your review prompted me to download this great album, thanks !