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Clean Feed Records: CF227CD
http://www.cleanfeed-records.com/product/riptide/
* Oscar Noriega : alto saxophone, clarinet, bass clarinet
* Ellery Eskelin : tenor saxophone
* Terrence McManus : guitars
* Kermit Driscoll : acoustic bass, electric bass guitar
* Gerry Hemingway : drums, harmonica
http://www.oscarnoriega.com/
http://www.elleryeskelin.blogspot.com/
http://www.terrence-mcmanus.com/
http://www.kermitdriscoll.com/
http://www.gerryhemingway.com/
Recorded by Michael Brorby at Acoustic Music,
Brooklyn, NY, on December 5, 2009.
Reviews
By Mike Shanley
http://jazztimes.com/articles/29357-riptide-gerry-hemingway-quintet
With one very obvious exception, all the tracks on Riptide flow together
without a break, often making it hard to distinguish if a mood shift comes in
the middle of a piece or if it cues the next composition. Tense, repetitive
licks give way to murky drones or moments where all five musicians seem to be
improvising independently. But even at its busiest, the music sustains its
focus and indicates that Gerry Hemingway’s writing can stand side-by-side with
his recorded history as a wild, propulsive drummer.
Longtime collaborators Ellery Eskelin (tenor saxophone) and Kermit Driscoll
(alternating acoustic bass and electric bass guitar) join Hemingway, along with
guitarist Terrence McManus and Oscar Noriega, the latter of whom adds a piquant
texture to the music on clarinet, bass clarinet and alto saxophone. The leader
blows some murky harmonica to unwrap “Gitar,” a 12-minute piece that builds up
from this swampy sound into a spare spotlight for Eskelin’s dynamic
vocabulary. This contrasts with “Meddle Music,” a shorter piece which McManus
shapes into a strong slab of overdriven psych-rock. The minute-long gap between
the last two tracks was a wise choice since they’re similar and represent a big
departure from the program. “Backabacka” finds the drummer playing a straight
4/4 African kwela groove—which resembles ska thanks to the off-beat horn
riff—but drags on just a little too long. “Chicken Blood” is also repetitive,
but has a bit more variety with its parallel guitar and horn melodies. Somehow
Hemingway makes these contrasts, and the false ending, make sense in the
context of this strong release.
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By Mark Corroto
http://www.allaboutjazz.com/riptide-gerry-hemingway-clean-feed-records-review-by-mark-corroto.php
By Grego Applegate Edwards
http://www.gapplegatemusicreview.blogspot.com/2011/11/gerry-hemingway-quintet-riptide.html
By Florence Wetzel
http://www.squidsear.com/cgi-bin/news/newsView.cgi?newsID=1391
By Troy Collins
http://www.pointofdeparture.org/PoD36/PoD36MoreMoments4.html
By Michael Rosenstein
http://www.paristransatlantic.com/magazine/monthly2011/09sep_text.html#9
Guy Peters (nl)
http://www.draaiomjeoren.blogspot.com/2012/10/cd-gerry-hemingway-quintet-riptide.html
Joachim Ceulemans (nl)
http://www.kwadratuur.be/cdbesprekingen/detail/gerry_hemingway_quintet_-_riptide/
Par Jean Buzelin (fr)
http://www.culturejazz.fr/spip.php?article1824
Par FreddieJazz
http://www.ledeblocnot.blogspot.com/2012/01/gerry-hemingway-riptide-2011-par.html |
