Across 7 Street - Made In New York / Smalls Records CD New

Tommy's Jazz
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eBay-Artikelnr.:314961380177
Zuletzt aktualisiert am 07. Jul. 2025 19:30:36 MESZAlle Änderungen ansehenAlle Änderungen ansehen

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Artikelzustand
Neu: Artikel, dessen Originalverpackung (sofern zutreffend) nicht geöffnet oder entfernt wurde. Der ...
CD Grading
Mint (M)
Type
Album
Case Type
Jewel Case: Standard
Color
Clear
Case Condition
Mint (M)
Style
Bop, post bop
Features
Sealed
Inlay Condition
Mint (M)
Edition
First Edition
UPC
0616892566021
Kategorie

Über dieses Produkt

Product Identifiers

Record Label
Smalls Records, Sals
UPC
0616892566021
eBay Product ID (ePID)
12046047964

Product Key Features

Format
CD
Release Year
2004
Genre
Jazz
Artist
Across 7 Street
Release Title
Made In New York

Dimensions

Item Height
0.39 in
Item Weight
0.20 lb
Item Length
5.88 in
Item Width
4.93 in

Additional Product Features

Number of Discs
1
Number of Tracks
12
Country/Region of Manufacture
United States
Tracks
1.1 You Think So? 1.2 Having Tea with Swamp Thing 1.3 Apollo 7 1.4 St. Francis' Dimes 1.5 Sundial 1.6 We'll See 1.7 Back in the Cosmos 1.8 One for D.T 1.9 Need I Say More? 1.10 Eleven Later 1.11 Adriatic Sea 1.12 Once
Notes
Sunday night patrons didn't ride in on the Friday and Saturday night bandwagon. Sunday nights at Smalls were for listeners and people off the beaten path. They came to listen to the music and thumb their noses at Monday morning. For nine years, they came to Smalls every Sunday to hear Across 7 Street. The smart, dark-edged music of this quintessential New York jazz group was the perfect tonic, a reminder that there was intelligent life in the universe. The name of the group is an oblique reference to the unheralded passing of an underground legend, the late saxophonist Clarence 'C' Sharpe, who performed with members of this group, and who made the abstract progression from the University of the Streets on one side of East 7th Street, to the Peter Jarema Funeral Home on the other side. The tribute might now be extended as well to the late Frank Hewitt. The members of Across 7 Street were all born and raised in NY. All were early standouts, establishing themselves on the New York jazz scene in their teenage years. Chris, Ari, Sacha, and Danny excelled in Barry Harris' workshops in their early years, and learned much from accompanying the elder players on the New York scene at the time, players such as C Sharpe, Frank Hewitt, Junior Cook, Lou Donaldson, Vernel Fournier, and Tommy Turrentine. John Mosca, who is also the director of the Vanguard Jazz Orchestra, is the consummate veteran soloist, ensemble player, and teacher, a longtime pillar of the NY jazz scene. It is the unique blend of influences from the rich New York scene that gives this group it's flavor. Over the course of nine years of weekly Sunday night features at Smalls, Across 7 Street developed an impressive book of fifty or so original compositions to maturity. This volume presents the first dozen of those compositions for the first time on record. The music is difficult, dark-edged, hard swinging, harmonically rich, and deeply rooted, and the listener is sure to be rewarded. Luke Kaven Ithaca, November 2003 Notes on the Music You Think So? is typical Sacha Perry fare in that it's minor, very rhythmically identifiable, and on a set of chords you've never heard before but thought you had. I get a slight tongue-in-cheek humor hidden in this one somehow. Probably just from knowing Sacha. Having Tea With Swamp Thing is a classic Ari Roland tune. There are two beats missing from the first A, an extra bar on the last A, and the last A starts with a drum solo. Over these form innovations, he makes a melody actually sound tuneful despite all kinds of rhythmic events, i.e., sixteenth notes in between sustained notes, heavy syncopations, and specific articulations. Apollo 7 is a musical depiction of a ride in a space ship with one of the band members (could be any one of them!). It's quiet, intense, and you get around to some interesting topics quickly. For me, the highlight is the beginning of the bridge; the tenor winds up sitting on a flat 9 of a major chord for five beats, a very strange note indeed! Things resolve soon, as is typical with Byars compositions -- movement prevails over conflict. Ari starts St. Francis' Dimes in with two A sections in B major, and a B section in E flat. The A sections are 12 bars long, giving it a blues feel, which releases comfortably to the 16 bar B. The cadenza section at the end is only loosely choreographed, and has evolved gradually over many Sunday nights at Smalls. Sundial is a contrafact, a new melody based on a pre-existing chord structure. The harmonic sequence of the standard 'Laura' was modified to include more dominant chords and favors chromatic movement over traditional fourths and fifths. The melody is formulated in a twelve-tone scheme: it runs the course of all twelve chromatic scale notes before any notes can repeated. However, the next set of twelve is always a new order, so any given note can reappear less than twelve notes later. This added flexibility makes for an easier application of the melody to the cho

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Tommy's Jazz

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