What a surprise to have stumbled upon this CD by percussionist David Earle Johnson, who doesn't seem to have many albums in print, let alone much of a solo discography. Granted, the co-billing of Jan Hammer (a mover and shaker during the heyday of jazz-rock fusion) on the CD cover may have convinced me that there was some worth to buying "Hip Address", but the music itself turned out to be rather good for the most part.
Orignally released in 1980, "Hip Address" builds on the jazz-rock fusion Hammer created with both the Mahavishnu Orchestra and Jeff Beck, adding a more percussive feel to it courtesy of Johnson. Hammer and Johnson play all instruments, with Hammer playing drums in addition to his multiple keyboards.
A versatile pianist who has worked with singers, symphony orchestras, and jazz groups, David Budway, also has worked with drummer Jeff "Tain" Watts and Hubert Laws, in addition to recording several self-issued CDs prior to this Maxjazz release. With Watts and bassist Eric Revis as his rhythm section mates, Budway's session is filled with striking, thoughtful originals and well-conceived settings of familiar works. Marcus Strickland guests on soprano sax for his turbocharged "Japanese Brunch," which is marked by its tense post-bop rhythm and the leader's darting piano. Branford Marsalis is the soprano saxophonist for Budway's melancholy "Lonely Cane," a spacious ballad with an emotional impact.
Stéphanie Moraly débute le violon à l’âge de 6 ans et fait montre d’un talent précoce. Élève de Suzanne Gessner au CRR de Paris, elle remporte son premier concours à 10 ans et, à 11, donne son premier récital, obtient le Premier Prix du Concours Jeunes Prodiges Mozart et se produit en soliste aux Théâtres des Champs-Elysées et du Châtelet à Paris, ainsi qu’à Prague. A 16 ans, elle entre au Conservatoire de Paris dans la classe de Sylvie Gazeau, en sort avec un Premier Prix à 19, et part ensuite se perfectionner avec Michèle Auclair au New England Conservatory de Boston.
Schubert’s two Piano Trios are amongst his greatest works, contrasted both within themselves and between each other although written within weeks of each other. The B flat has a superficially contented character at the start, but even here clouds seem to come across the sky at increasingly frequent intervals. The E flat is a more obviously dramatic work throughout, and the curiously ambiguous march of the slow movement is surely some of the most inspired music Schubert ever wrote.