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Michael Musillami - Groove Teacher (1999)

Jazz | Author: SELMER | 8-03-2018, 12:32
Michael Musillami - Groove Teacher (1999)
Artist: Michael Musillami
Title Of Album: Groove Teacher
Year Of Release: 1999
Label: Playscape Recordings
Country: USA
Genre: Jazz
Quality: FLAC (*tracks + .cue, log, scans)
Bitrate: Lossless
Time: 60:44
Full Size: 359 MB







Tracklist:

01. Seven Blend (6:27)
02. The Gift (8:25)
03. Open Ended (9:39)
04. Off the Glass (8:09)
05. Groove Teacher (5:58)
06. Today the Angels Cry (7:43)
07. Keko Smile (5:36)
08. Big Ears and the Blues (4:37)
09. Peninsula (4:12)

Personnel:

Michael Musillami - guitar
Thomas Chapin - alto saxophone, flute
Claudio Roditi - trumpet
Ralph Moore - tenor saxophone
Kent Hewitt - piano
Charles (Chip) Jackson - bass
Steve Johns - drums

Musillami's band gets bigger with each installment of his Playscape trilogy. On part three, Groove Teacher, the ensemble grows to a septet with the inclusion of tenor saxophonist Ralph Moore. Trumpeter Claudio Roditi replaces Randy Brecker from the previous album, Mar's Bars; bassist Charles (Chip) Jackson also comes on board for the first time. The four who have remained steady throughout are guitarist Musillami, pianist Kent Hewitt, drummer Steve Johns, and alto saxophonist/flutist Thomas Chapin. Hewitt and Chapin are particularly brilliant on this record, having had ample opportunity to absorb Musillami's concept as a composer and bandleader. But, not to be outdone, newcomer Jackson plays a number of showstopping solos during the course of the program. There are quite a few unexpected twists in this batch of original compositions, including the reggae groove of the title track and the shifting meter (6/8 to 4/4) of the high-intensity modal piece "Today the Angels Cry." Other highlights include "Peninsula," a concise suite (four parts in as many minutes) that closes the album, and "The Gift," a fast waltz with the kind of intricate multi-part writing that graced Musillami's previous effort. The scope of Chapin's talent is especially evident in the contrast between his impeccably modern flute solo on "Open Ended" and his pure bop alto escapade on "Big Ears and the Blues." -- David R. Adler



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