{"id":10931,"date":"2019-02-19T22:02:44","date_gmt":"2019-02-20T06:02:44","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=10931"},"modified":"2019-02-23T12:57:25","modified_gmt":"2019-02-23T20:57:25","slug":"recent-listening-dave-young-and-friends","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2019\/02\/recent-listening-dave-young-and-friends\/","title":{"rendered":"Recent Listening: Dave Young And Friends"},"content":{"rendered":"

Dave Young<\/strong>, Lotus Blossom<\/a><\/em> (Modica Music)<\/p>\n

\"\"<\/a>Young, the bassist praised by Oscar Peterson for his \u00e2\u20ac\u0153harmonic simpatico and unerring sense of time\u00e2\u20ac\u009d when he was a member of Peterson\u00e2\u20ac\u2122s trio, leads seven gifted fellow Canadians. His beautifully recorded bass is the underpinning of a relaxed session in which his swing is a force even during quiet moments. That is apparent beginning in the classic Billy Strayhorn composition that gives the album its title. With Renee Rosnes at the piano and Terry Clarke drumming, Young solos on the bridge section of all three choruses of the tune, his sound at once penetrating, soft and muscular. There is much else to recommend the album, but its character arises from Young\u00e2\u20ac\u2122s tonal quality. Rosnes and guitarist Reg Schwager each achieve reflective, swinging bossa relaxation in \u00e2\u20ac\u0153Modinha,\u00e2\u20ac\u009d an Antonio Carlos Jobim tune played less often than many of the composer\u00e2\u20ac\u2122s better- known creations. This version may bring it greater attention.<\/p>\n

Schwager finds the swinging, humorous, center of \u00e2\u20ac\u0153Red Cross,\u00e2\u20ac\u009d a Charlie Parker \u00e2\u20ac\u0153I Got Rhythm\u00e2\u20ac\u009d variation dating from 1944. Schwager\u00e2\u20ac\u2122s guitar gets first billing in the Dexter Gordon composition \u00e2\u20ac\u0153Fried Bananas,\u00e2\u20ac\u009d based on the harmonies of \u00e2\u20ac\u0153It Could Happen To You,\u00e2\u20ac\u009d but Clarke\u00e2\u20ac\u2122s drum solo comes close to stealing the track. The veteran Bernie Senensky takes over the piano chair in Cedar Walton\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Bolivia\u00e2\u20ac\u009d and Jimmy Van Heusen\u00e2\u20ac\u2122s \u00e2\u20ac\u0153I Thought About You,\u00e2\u20ac\u009d in which the fluidity of Senensky\u00e2\u20ac\u2122s solo is advanced by Clarke\u00e2\u20ac\u2122s inspired brushes and cymbals, and Young phrases his solo as if he were a horn player. The album closes with two guest artists who are<\/em> horn players, trumpeter Kevin Turcotte and tenor saxophonist Perry White. They each solo on \u00e2\u20ac\u0153Softly, As In A Morning Sunrise.\u00e2\u20ac\u009d Young has another penetrating bass solo, then the horns circle one another before they end the track and the album in close\u00e2\u20ac\u201dreally close\u00e2\u20ac\u201dharmony.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dave Young, Lotus Blossom (Modica Music) Young, the bassist praised by Oscar Peterson for his \u00e2\u20ac\u0153harmonic simpatico and unerring sense of time\u00e2\u20ac\u009d when he was a member of Peterson\u00e2\u20ac\u2122s trio, leads seven gifted fellow Canadians. His beautifully recorded bass is the underpinning of a relaxed session in which his swing is a force even during […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","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":[5],"tags":[],"class_list":{"0":"post-10931","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-recommendations","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10931","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=10931"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/10931\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=10931"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=10931"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=10931"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}