{"id":10479,"date":"2018-10-23T21:10:25","date_gmt":"2018-10-24T04:10:25","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10479"},"modified":"2018-10-23T21:43:13","modified_gmt":"2018-10-24T04:43:13","slug":"recent-listening-jon-de-lucia-with-ted-brown","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/10\/recent-listening-jon-de-lucia-with-ted-brown\/","title":{"rendered":"Recent Listening: Jon De Lucia With Ted Brown"},"content":{"rendered":"<p><strong>Jon De Lucia Octet + Ted Brown<\/strong> <em><a href=\"https:\/\/amzn.to\/2R8ixcl\">Live At The Drawing Room<\/a><\/em> (Gut String Records)<\/p>\n<p><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/10\/Jon-De-Lucia-Octet-Ted-Brown-copy-tiny-970x1024-1-e1540353713478.jpg\"><br \/>\n<\/a><a href=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/10\/Jon-De-Lucia-Octet-Ted-Brown-copy-tiny-970x1024-2-e1540353838163.jpg\"><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-10481\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/10\/Jon-De-Lucia-Octet-Ted-Brown-copy-tiny-970x1024-2-e1540353838163.jpg\" alt=\"\" width=\"300\" height=\"317\" \/><\/a>Alto saxophonist De Lucia is committed to music that springs from Lennie Tristano. He also draws on the examples of Lee Konitz, Jimmy Giuffre, Gerry Mulligan and other musicians who became important in the late 1940s and early \u00e2\u20ac\u02dc50s. On this album De Lucia\u00e2\u20ac\u2122s octet features the venerable tenor saxophonist Ted Brown. Brown spent seven years with Tristano after the pianist, composer, arranger and theorist moved from Chicago to New York and established a modern jazz tributary often referred to as the Tristano school. Tristano influenced a wide range of musicians including Bill Evans, Clare Fischer, and the saxophonists Konitz and Warne Marsh, both early members of his band.<\/p>\n<p>Tristano\u00e2\u20ac\u2122s impact is apparent in the harmonic aspects of the De Lucia album\u00e2\u20ac\u2122s arrangements of standard songs like \u00e2\u20ac\u0153Darn That Dream\u00e2\u20ac\u009d and \u00e2\u20ac\u0153The Song Is You\u00e2\u20ac\u009d and of modern jazz classics including Mulligan\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Sextet,\u00e2\u20ac\u009d his \u00e2\u20ac\u0153Venus De Milo\u00e2\u20ac\u009d and the Jimmy Giuffre arrangement of Konitz\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Palo Alto.\u00e2\u20ac\u009d In this video made at New York\u00e2\u20ac\u2122s Drawing Room, the bearded man near the middle of the screen is De Lucia. To his immediate right is Ted Brown, mostly obscured by the audience but fully audible in his solo. The piece\u00e2\u20ac\u201dbased on <em>guess what?<\/em>\u00e2\u20ac\u201dis titled \u00e2\u20ac\u0153I Resemble You,\u00e2\u20ac\u009d not the only track in the album to borrow from the chord structures of well-known compositions.<\/p>\n<div align=\"center\">\n<p><iframe loading=\"lazy\" src=\"https:\/\/www.youtube.com\/embed\/uqHIDPF1CxE\" width=\"560\" height=\"315\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<div>\n<p style=\"text-align: left;\">Members of the band: De Lucia and John Ludlow, alto saxophone; Jay Rattman and Marc Schwartz, tenor saxophone; Andrew Hadro, baritone saxophone; Ray Gallon, piano; Aidan O&#8217;Donnell, bass; Steve Little, drums; Ted Brown, tenor sax\u00e2\u20ac\u201dfeatured guest.<\/p>\n<p style=\"text-align: left;\">To learn about Jon De Lucia\u00e2\u20ac\u2122s background in Boston and New York, <a href=\"http:\/\/www.jondelucia.com\/about\/\">visit his website<\/a>.<\/p>\n<p>&nbsp;<\/p>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"<p>Jon De Lucia Octet + Ted Brown Live At The Drawing Room (Gut String Records) Alto saxophonist De Lucia is committed to music that springs from Lennie Tristano. He also draws on the examples of Lee Konitz, Jimmy Giuffre, Gerry Mulligan and other musicians who became important in the late 1940s and early \u00e2\u20ac\u02dc50s. On [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-10479","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10479","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=10479"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10479\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10479"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10479"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10479"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}