George Garzone "Innocence" by Keith Jarrett

Massimo Biolcati (bass)
Bob Gullotti (drums)
Massimo Biolcati is also a long-standing member of the Lionel Loueke Trio.
Bob Gullotti is an experienced performer and teacher with a highly successful background as a professional musician, gaining acclaim both in the U.S. and abroad for unique creativity interpretive technique, and technical performance quality. His experience includes tours of Europe, South America, Australia, Canada, the Middle East, and the United States with his own band and with such well-known artists as Gary Bartz and Eddie Henderson. Bob has performed with such jazz notables as J.J. Johnson, John Abercrombie, George Mraz, Joe Lovano, Kenny Werner, Eddie Gomez, Tom Harrell, Mike Mainieri, Mose Allison, John Medeski, John Patitucci, Bob Brookmeyer, and Miroslav Vitous. Bob performed with the rock group Phish. His band, The Fringe, is a four-time recipient of the Boston Music Awards #1 Jazz Act Award. He has over fifty recordings to his credit and currently his band has a multi-record release contract with Soul Note Records, one of the top jazz labels in the world.
Bob also has an extensive teaching background and is recognized as one of New England's top private teachers with many working professional students. He in on the faculty of the University of Massachusetts, and teaches percussion to music majors at other area colleges and universities. Bob has presented lectures and classes at such schools as Dartmouth College, Harvard University, New York University, Pennsylvania State University, Adelaide Conservatory (Australia), Bogota University (South America), and Ramon School of Jazz (Israel). He was asked by the French Government to help organize and operate the "Jazz is Toulon" jazz camp, and has lectured and taught at the Switzerland Jazz Workshop. At New York University he was the percussionist instructor for the National Young Audiences concert series under grants from the National Endowment of the Arts.

Category:

Music

Tags:

• George Garzone
• Keith Jarrett
• Massimo Biolcati
• Bob Gullotti
• jazz
• tenor saxophone
• trio

[wmanser]

@Justino111 Putting it that way I understand the point of view even if I don't agree with it. I would not call this recording a gem however, it is clear to me that good Jazz players must do something new with a standard to give it any validity. For example, playing Giant steps in 5/4 some might find sacreligious. Though to play it as Coltrane did I feel would be worse. I think jazz at is highest level must always take a stab at playing a standard differently. Even if just a tempo change.

[Justino111]

@nyshoefly WEAK

[nyshoefly]

you guys sound like a bunch of classical babies...its jazz, let him play whatever he wants cause hes one of the best in the world at improvising.

[nyshoefly]

@Justino111 WEAK

[pooperscoopr69]

@Justino111

On the contrary.

What's pointless is your pretentious, misinformed commentary.

[Justino111]

@wmanser - I've heard many recordings of Garzone and I do think he has his own voice. But it's not the case here. Actually, what I am questioning is the use of this particular piece played up tempo. There are zillions of standards that suit that purpose and Garzone has played many of them. I am not saying that musicians shouldn't experiment. I just think KJ's Innocence does not work when played so fast. Why all tunes must sound like a bebop tune?

[wmanser]

@Justino111 - I am not sure you are correct. George is influenced by Coltrane but I think the approach George takes offers more than enough validity. I think your saying he should play something new... I think he does.

[kimosabelarry]

HA! George. Killing.

[triads99]

Nice... Burnin', George.... like the Fringe playing "Ultra Tempo"... though not as fast... George is certainly a force!

[Justino111]

with all due respect to Garzone, this version is rather pointless. I mean, how many jazz tunes are played up tempo and improvised exactly like this version? one million, two million or three million tunes?

Jarrett is notorious for his melodic lines no matter he is writing the tune or improvising. And there is a reason for that: he is one of the few improvisors who CAN be melodic without having to repeat "hard bop" post-Coltrane cliches. Thus, this version has no "raison d'etre".