Hudson (Deluxe Edition) Jack DeJohnette, John Medeski, John Scofield

• 1 Hudson 10:55
• 2 El Swing 05:28
• 3 Lay Lady Lay 08:16
• 4 Woodstock 05:59
• 5 A Hard Rain's A-Gonna Fall 09:13
• 6 Wait Until Tomorrow 05:28
• 7 Song for World Forgiveness 08:35
• 8 Dirty Ground 03:58
• 9 Tony Then Jack 05:03
• 10 Up on Cripple Creek 05:35
• 11 Great Spirit Peace Chant 03:16
• 12 Castles Made of Sand (Bonus Track) 06:21
• 13 Lay Lady Lay (Radio Edit) 03:46
• Total Runtime 01:21:53

Info zu Hudson (Deluxe Edition)

Jack DeJohnette (Drums), Larry Grenadier (Bass), John Medeski (Keys) und John Scofield (Guitar) gehören ohne jeden Zweifel zu den renommiertesten Namen der aktuellen Jazz-Szene und haben sich eine weltweite Fanbase über eigene Releases als auch vielen Kooperationen erspielt. Auf dem vorliegenden Album "Hudson" finden sich Coverversionen von bekannten Songs aus der Feder so namhafter Künstler wie Bob Dylan, Joni Mitchell und Jimi Hendrix, als auch Neukompositionen, die extra für dieses Album entstanden sind. Als Inspiration für das Album stand das Hudson River Valley Pate, das, zwei Autostunden von New York entfernt, seit den frühen Siebzigern von zahlreichen New Yorker Künstlern bewohnt wird und für viele Musiker ein wichtiger und kreativer Rückzugsort geworden ist. Ein tolles und hörenswertes Jazz-Album ist das Resultat!

"Die Musik auf diesem Album ist eng verbunden mit dem titelspendenden Fluß, der viele Künstler verbindet, die entweder in der Stadt New York lebten oder in die bewaldeten Gegenden des umgebenden Staates geflüchtet waren (oder beides): Das Allstar-Quartett covert Songs von Jim Hendrix, Bob Dylan, The Band und Joni Mitchell. Aber nicht nur, die Musiker leben ja selbst am Hudson River und haben auch einiges über ihn zu erzählen: DeJohnette und Scofield treten ebenfalls ausführlich als Komponisten in Erscheinung. Was für eine unglaubliche Band das ist, hört man in jedem Track; am beeindruckendsten vielleicht in Dylans “A Hard Rain’s A-Gonna Fall”, eigentlich einem vom Text lebenden Drei-Akkorde-Song. Was hier – in über neun Minuten! – damit geschieht, ist schon ziemlich irre. Wer dachte, das Fusion-Genre sei überholt, wird sehr deutlich widerlegt: Mit diesem Album verzeichnet es vielmehr einen neuen Höhepunkt." (vinylkatalog.de)

"Jack DeJohnette gibt den Buddy Miles, und John Scofield bohrt sich mit seinem markanten Gitarrensound (.​.​.​) in die Ohren.​ (.​.​.​) John Medeski an der Orgel, Fender und Piano und Larry Grenadier am Bass liefern den brodelnden Groove für dieses Projekt (.​.​.​).​" (Stereo)

"Das Resultat des Treffens klingt grundlegend, dekonstruierend und kommentierend, swingend und funky, humorvoll und ehrfürchtig.​ Eine starke Mischung starker Charaktere.​" (Audio)

"Die All-Star-Band knüpft nahtlos an die Epoche von Hendrix und Santana an.​ In Zeiten, in denen uns Hip-Hop-getriebener Disco-Jazz als Zukunft des Jazz verkauft wird, ein starkes Statement.​" (Fono Forum)

"Treffen sich vier Giganten, kommt gigantische Musik heraus.​ So einfach ist es nicht immer.​ Bei ›Hudson‹ schon.​" (Rondo)

Jack DeJohnette, Schlagzeug, Tom Tom, Flöte, Gesang
Larry Grenadier, Kontrabass, Gesang
John Medeski, Klavier, Orgel, Flöte, Gesang
John Scofield,Gitarre, Flöte

Jack DeJohnette
is one of the most consistently inventive jazz percussionists extant. DeJohnette’s style is wide-ranging, yet while capable of playing convincingly in any modern idiom, he always maintains a well-defined voice. DeJohnette has a remarkably fluid relationship to pulse. His time is excellent; even as he pushes, pulls, and generally obscures the beat beyond recognition, a powerful sense of swing is ever-present. His tonal palette is huge as well; no drummer pays closer attention to the sounds that come out of his kit than DeJohnette. He possesses a comprehensive musicality rare among jazz drummers.

That’s perhaps explained by the fact that, before he played the drums, DeJohnette was a pianist. From the age of four, he studied classical piano. As a teenager he became interested in blues, popular music, and jazz; Ahmad Jamal was an early influence. In his late teens, DeJohnette began playing drums, which soon became his primary instrument. In the early ’60s occurred the most significant event of his young professional life — an opportunity to play with John Coltrane. In the mid-’60s, DeJohnette became involved with the Chicago-based Association for the Advancement of Creative Musicians. He moved to New York in 1966, where he played again with Coltrane, and also with Jackie McLean. His big break came as a member of the very popular Charles Lloyd Quartet from 1966-1968. The drummer’s first record as a leader was 1968’s The DeJohnette Complex. In 1969, DeJohnette replaced Tony Williams in Miles Davis’ band; later that year, he played on the trumpeter’s seminal jazz-rock recording Bitches Brew. DeJohnette left Davis in 1972 and began working more frequently as a leader. In the ’70s and ’80s, DeJohnette became something like a house drummer for ECM, recording both as leader and sideman with such label mainstays as Jan Garbarek, Kenny Wheeler, and Pat Metheny.

DeJohnette’s first band was Compost; his later, more successful bands were Directions and Special Edition. The eclectic, avant-fusion Directions was originally comprised of the bassist Mike Richmond, guitarist John Abercrombie, and saxophonist Alex Foster. In a subsequent incarnation — called, appropriately, New Directions — bassist Eddie Gomez replaced Richmond and trumpeter Lester Bowie replaced Foster. From the mid-’70s, Directions recorded several albums in its twin guises for ECM. Beginning in 1979, DeJohnette also led Special Edition, a more straightforwardly swinging unit that featured saxophonists David Murray and Arthur Blythe. For a time, both groups existed simultaneously; Special Edition would eventually become the drummer’s performance medium of choice. The band began life as an acoustic free jazz ensemble, featuring the drummer’s esoteric takes on the mainstream. It evolved into something quite different, as DeJohnette’s conception changed into something considerably more commercial; with the addition of electric guitars and keyboards, DeJohnette began playing what is essentially a very loud, backbeat-oriented — though sophisticated — instrumental pop music.

To be fair, DeJohnette’s fusion efforts are miles ahead of most others’. His abilities as a groove-centered drummer are considerable, but one misses the subtle colorations of his acoustic work. That side of DeJohnette is shown to good effect in his work with Keith Jarrett’s Standards trio, and in his occasional meetings with Abercrombie and Dave Holland in the Gateway trio. DeJohnette remains a vital artist and continues to release albums such as Peace Time on Kindred Rhythm in 2007. He returned in 2009 with the trio album Music We Are featuring pianist Danilo Perez and bassist John Patitucci. In 2012, DeJohnette delivered the musically eclectic Sound Travels, showcasing a bevy of collaborations with such artists as Bruce Hornsby, Esperanza Spalding, and Ambrose Akinmusire, among others. (Chris Kelsey, AMG)

Dieses Album enthält kein Booklet