Conquest ( Leena )

William Parker Double Quartet | Alphaville Suite | RogueArt Jazz

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I first saw Jean Luc Godard’s Alphaville on American television in the early 1970’s. It didn’t take long for me to realize that Alphaville wasn’t just another science fiction spy thriller; it was really a wake up call to modern society to be vigilant… …It has always been my dream write to a piece of music inspired by this great film. The plan was to have a double quartet, one quartet made up of strings (Julia Kent, and Shiau-Shu Yu cello, Jessica Pavone viola, and Mazz Swift violin). The other quartet is the regular working band of Rob Brown, alto sax, Lewis Barnes, trumpet and Hamid Drake, drums. I read the films screenplay and bought the DVD of the film to refresh my memory. Then I began to write the music, ending up with 15 compositions each one capturing a different aspect of the movie. The concept was to create an alternative soundtrack that could possibly be used in the film. While at the same time have a life of it’s own as concert music. Due to time restraints we only could record about half the music. Eight musicians blending as one while at the same time not giving up their individuality. — William Parker, excerpt from the liner notes Continue reading →

Dennis Gonzalez Jnaana Septet | The Gift of Discernment | Not Two Records

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Trumpeter Dennis Gonzalez has been responsible for some beautifully realized music on record in the past and this is a worthy addition to the canon. The music’s full of that often difficult to define quality called life, shot through with a group conception which makes for a realization which is simultaneously both tight and loose. The presence of percussionist Alvin Fielder provides a kind of link with the percussive workouts of the Art Ensemble Of Chicago, and it’s that aesthetic which pervades the first four minutes of the opener, “Raise The Spirit,” before Chris Parker’s piano strikes out for territories new with Aaron Gonzalez’s bass hinting at harmonic possibilities. Singer Leena Conquest adds a further facet when she comes in and the gradualism of approach has the effect of enticing the listener in on the promise of new vistas. They come to the fore on “Ganesha The Spy,” where Parker’s piano sounds slightly portentous, only for the mood to disperse in the wake of percussion before Gonzalez maintains the stately, quietly reverential mood. Again the percussion is deftly handled in terms of deployment. The lyricism of the piece is perpetually foreboding, but in a manner that’s the opposite of off-putting. Not for these guys is the use of volume and instrumental screaming in pursuit of spurious spirit summoning. — Nic Jones, AllAboutJazz Continue reading →