Music author Gene Lees wrote the lyrics to the classic Bill Evans melody "Turn out the Stars," which Jillette sings above a shuffle intro. She has an intriguing voice. It is breathy, yet has a deepness at the same time. She enunciates in a cool emphatic manner that compels you to listen to every word. The instrumental break is proof that the Kelsey Jillette Group is not simply a backing band for a talented vocalist. Drummer Adam Pache's beats support the very fine efforts of guitarist Hiro Honma, baritone saxophonist Tom Abbott and B-3 player Brad Whiteley. On "Turn out the Stars," Whiteley's role is especially impressive. (He and Jillette arranged the piece as well, which may be a clue to his performance.) The Kelsey Jillette Group is the real deal. You need to give them a listen.
March 17, 2009 · 3 commentsTags: turn out the stars
"Turn out the Stars" reveals the elements of Malone's description. Lund exhibits a wise-beyond-his-years ability to strip away all but the truest sense of a standard's melody and harmonic groundwork (à la Hall and Frisell), and there's no better way to sense this gift than on Lund's interpretation of one of Bill Evans's lyrical compositions. As Lund's improvisation develops, so does its complexity, as evidenced by the web of propulsive ideas he weaves between 2:30 and 3:30. But not to worry: his classic tone and relaxed style create a fluidity that makes this heavy thinking as comfortable to listen to as his unembellished melodic statements. Busy New York players Orlando LeFleming and Rodney Green are elegant throughout, especially LeFleming's Haden-esque harmonic predictions of Lund's every move. We'll be hearing a lot more from all of these players, with Lund gently leading the way.
March 11, 2009 · 0 commentsTags: turn out the stars
"Turn Out The Stars" was one of Evans's most esoteric pieces. It was heard on the Bill Evans and Jim Hall record Intermodulation and even earlier at Evan's Town Hall concert. Evans and Hall formed a compelling bond over several recordings. so it makes all the sense in the world for the tune to be performed in duet by Hancock and McLaughlin – two musicians who formed their own bond in their formative years with Miles Davis. Hancock's style is slightly heavier-handed than Evans was. But this is just an indication of his power and not a detriment to his lovely presentation. McLaughlin's tone on this performance is warm and processed. In the group he was playing with at the time, The Free Spirits, this was bit of a problem because its sound would get lost beside Joey DeFrancesco's B-3 organ. Here, however, placed against a piano, the tone is quite pleasing. Each master musician plays lush chords as the other presents seamless and meaningful improvisations. The duo's interplay is telepathic. Evocative single-note runs eventually join to bring this moving tribute to Evans's legacy to an end.
July 03, 2008 · 0 commentsTags: turn out the stars
January 12, 2008 · 0 commentsTags: turn out the stars
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