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The Age We Live in CD


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Product Description

Product Description

Brimming with originality and diversity, 'The Age We Live In' finds John Escreet and his colleagues pushing past boundaries to create something truly new. Joining Escreet on piano, Fender Rhodes and keyboards with an all-star group comprised of saxophonist David Binney, guitarist Wayne Krantz and drummer Marcus Gilmore. The album was co-produced by Escreet and Binney.

For Escreet, 'The Age We Live In' marks the latest chapter in a career that can already be described as remarkable, especially for an artist still in his twenties. Born in Doncaster, Escreet moved to New York five years ago and immediately began working with some of the most prominent names in cutting-edge jazz. His first two albums notched up one superb review after another, however 'The Age We Live In', takes the forward-thinking Escreet's artistry to another level. Escreet and his esteemed collaborators draw from a wide range of influences including soul and rock, then mix them all up, constantly shooting off into unexpected directions.

Personnel: John Escreet (piano, Fender Rhodes and keyboards), David Binney (alto saxophone, electronics), Wayne Krantz (guitar) Marcus Gilmore (drums and percussion), Tim Lefebvre (bass on two tracks), Brad Mason (trumpet), Max Seigel (trombone) and strings by Christian Howes.

Review

(4 stars) Key player on the Downtown scene...the session feels as if it has been conceived as an extended compositional whole. -- The Guardian, (John Fordham), July 8, 2011

(4 stars) Nips agilely between high-energy expressionism, looped chords and raunchy riffs, juxtaposing form and style with abandon. -- Financial Times, (Mike Hobart), July 9, 2011

(4 stars) There's no denying the startling vision or precariously balanced ambition...swings between knottily intense, through-written compositions and wild, stretching improvisations. -- Jazzwise, (Andy Robson), August 2011

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Amazon.com: 4.5 out of 5 stars 2 reviews
5 of 5 people found the following review helpful
5.0 out of 5 stars Wonderful, Strange & Beautiful 5 Oct. 2011
By Jonathan Guarriello - Published on Amazon.com
Verified Purchase
Here we have the newest release from British expatriate pianist John Escreet. John is a young firebrand that has been on the NYC jazz scene since around 2006 with the release of his first solo album Consequences which placed Escreet in the serious company of players such as the veteran alto sax player David Binney, trumpeter Ambrose Akinmusire & drummer Nasheet Waits. He then followed up with Don't Fight the Inevitable an eclectic album featuring Binney & Akinmusire as the frontline that straddles free Ornette Coleman type compositions with a melange of other influences shining thru.

That brings us to this latest release "The Age We Live In". In my opinion this high energy music falls somewhere in between Frank Zappa & Weather Report. John brings the energy level up several notches since last years Don't Fight The Inevitable. In my opinion you have two main reasons for this, one is the awesome presence of guitar hero Wayne Krantz who's powerful chops are in full flight. Two is the awesome drumming by the young Marcus Gilmore grandson of jazz drum legend Roy Haynes, Gilmore is emerging as one of the best and brightest of the new young drummers on the jazz scene who are able to subdivide beats like mathematicians while keeping the grooves from feeling like musical math hence "natural". David Binney a veteran of the "Downtown" scene on alto sax & electronics provides the sparks as a perfect foil to Krantz's guitar.

The music which is all original compositions opens with "Intro" which is exactly what it's title says an intro to bring us to track two the burning Zappa-esque "The Domino Effect" a complex fusion of sounds with many quick twists & turns finding each player in the group going all the way to eleven! I must mention how Marcus Gilmore seems to just dominate the music with singular authority navigating the tricky odd metered grooves with slamming head nodding beats that really tie the whole thing together since the ensemble lacks a bassist. On "Half Baked" Wayne Krantz gives us one of his signature guitar grooves to start things off before the band takes you on another high energy ride. Krantz's uncanny rhythmic precision comes to the fore on the hyper drive piece "Kickback" and turns in ripping solos on the title track "The Age We Live In" & "Domino Effect". They give you a chance to catch your breath on the atmospheric & evocative "Hidden Beauty" & the sparse ambient "As The Moon Disappears". Gilmore lets loose a ripping drum solo on the disco-fied "Stand Clear" which has Krantz taking on the role of bassist playing driving lines that support Escreet as he wails away on Fender Rhodes. Escreet is in my opinion a rising force on the acoustic jazz scene & with this album the electric fusion what I like to call 21st century jazz. Escreet employes a multitude of keyboards & synths to supplement his voice on the acoustic piano which to my ears at times recalls Keith Jarrett & also the piano percussion of Cecil Taylor, despite his love of freer sound worlds Escreet always seems to know when to bring the listener back home & it's this facet of John's compositions that I personally enjoy as well as his creative use of hauntingly beautiful dissonance. David Binney seems to have taken Escreet under his wing having appeared on all the pianists previous releases & also returning the favor & allowing Escreet to appear on his last few albums particularly Aliso. Binney is a potent force in this music providing blazing solos on alto sax as well as electronic ambience. Be sure & check out John Escreet's newest recording on the Criss Cross Jazz LabelException To The Rule

There you have it my thoughts on "The Age We Live In". I hope I'v given you a place to start with this wonderful set of music. Check it out.
2 of 2 people found the following review helpful
4.0 out of 5 stars serious stuff 24 Oct. 2011
By inner exile - Published on Amazon.com
Format: Audio CD
This predominantly quartet record can be compared to tenor saxophonist Chris Potter's Underground project for at least two reasons: no acoustic or electric bass is employed; it is heavy on fender rhodes and guitar. The young British keyboardman has concocted an intriguing blend of adventurous music for his third album, laden with idiosyncratic contribution from guitarist Wayne Krantz (percussive comping, intricate lines and accentuation) and alto saxist/composer David Binney (strikes a balance, as usual, b/w his trademark pyrotechnics and melodic exploration).
The best part of the set, of course (?), is constituted of the longest tunes: the tense #2 'domino effect' where Escreet's rather abstract piano improv. is a perfect match for the rock-suffused guitar follow-up; the starkly ambitious, deconstructive title track #4 is meant to be a steep climb, which is interspersed w/ brass (Brad Mason: trumpet, Max Seigel: trombone - also audible #6) arrangement; piece #6 'a day in music' by Binney has an exquisite theme and finds Tim Lefebvre on bass guitar; and finally, the solemn, hymn-like #11 'another life' where the listener is treated to expressive, heartfelt solos from Escreet and Binney only to be elevated by Krantz's take being played over the restated theme of the song.
The guitarist has brought to the project the groove-driven track #3 'half baked' that in its dynamism and structure somewhat belongs in the same category as the terse yet relentlessly energetic #5 'kickback' and #10 'stand clear'. In addition, we also have the ambient, repetitive #8 'hidden beauty' and a piano-synth. (reminds me of Prophet5's sound from the '80s) chat on #9 'as the moon disappears'. The momentary fillers #1, 7, 12 ('intro', 'interlude' and 'outro') serve, as one jazz critique described them, as "thematic arc", featuring Escreet strumming piano strings and Marcus Gilmore's pulsating beats. Total time: 54.12 min.
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