Edito de Diversity"Will the side men please come to the front!" Donald Dean, drummer for such notables as Les McCann and Jimmy Smith, has assembled a group of the finest musicians that jazz has ever wrought from her nurturing bosom. This group of Los Angeles masters includes Charles Owens, tenor saxophone; Michael Sessions, alto saxophone; James Smith, trumpet; Thurman Green, trombone; Horace Tapscott and Bobby Pierce, piano; Louie Spears, bass; and Ray Armando, percussion. "As a drummer," Dean says, "I have had the good fortune to work with a diverse group of musicians. I have endeavored to incorporate these musical experiences into this album. Regardless of its cultural origin, whether it stems from Africa, Europe or America, music can be played with its intesity and feeling and still retain its original flavor. No matter what the tune, if the feeling is there, it will communicate to the listener." With this in mind, this group set out to prove that the "pocket' is alive and well in their music. The mid-tempo groove of Fiddler On The Roof set the tone for a musical journey that covers a wide range of emotion and musicianship. Dean's co-arrangement of the tune with Bobby Pierce is of particular note as Louie Spears' and Dean's notions of funk fill every crevice. The Star-Crossed Lovers is the first ballad on the album. Charles Owens' lilting openign solo is a feast for the senses as it moves softly and ever so gently over his equally beautiful horn arrangement, finally blending into Thurman Green's smooth and soulful contribution. On Inspiration Of Silence, the sparse solo styliings of the local legend, Horace Tapscott, come to light as Ray Armando's percussive accompaniment harkens back to Pharoah Sanders' Karma. Dean's solo emphasizes that "more isn't always better," as he moves around the tune in a deliberately rudimentary fashion. The road trip to Kansas City begins and ends with Big Leg Pat. The blues are knocking at the door and entering with authority, while Michael Sessions and James Smith hold court as keynote speakers in a blues conversation. Also entering to add his two cents is Bobby Pierce on organ. How Long Has This Been Going On? is a soothing, reflective medium ballad that accents Dean's snycopative efforts with brushes and a driving sock cymbal in four time. Pierce, Spears, and Owens compliment him well as they each add a hint of Los Angeles flavor. In keeping with a string of mid-tempo standards, it's the Forties all over again with Donald Dean's swinging rendition of I'll Get By. If you listen carefully, you may be able to hear Willie Bobo's fingers snapping on One For Willie, the groups' homage to the late Latin percussionist. Ray Armando's conga solo and the spicy horn section definitely come to pay tribute. Last (but definitely not least) is the piece de resistance, Les McCann's Compared To What. The social awareness of the Sixties and the Seventies is rejuvenated, but with a Nineties flair sparked by the vocals of Dante Chambers. The pulsating downbeat rhythm which makes this tune an enduring classic is Dean's signature groove. He secures his position as the originator of a style that "makes it real" with no comparison. "My thanks fo to all the wonderful musicians who brought their enthusiasm, positive attitudes and talent to the group to make this album possible. All in all, everyone had a hand in making this an album I could be proud of. I love you all. I would especially like to thank Peggy Yamauchi. Without you Peg, I don't know what I would do. You've been there through thick and thin, always encouraging me to listen for the applause that comes from the back of the club, in addition to the cheers up front. I love you." "Rehearsals were held at Billy Higgins' World Stage which enabled us to keep this activity in the 'hood. My thanks also to the neighbors who dropped in during the rehearsals and offered their encouragement, and made us feel that we are doing the right thing." "My dream is to revitalize the community with energy, the right attitude, a sense of caring and togetherness through good music, good friends, and most importantly, unconditional LOVE of mankind. With this, everything is possible. ENJOY!" Thank you, Donald Dean. In an era where we are all asked to do more with less, it's nice to know that "less is still more." Peter M. Murray, II, May, 1996 Donald Dean, drums; Louie Spears, bass; Bobby Pierce, piano, organ; Horace Tapscott, piano on Inspiration Of Silence; Ray Armnado, percussion; Charles Owens, tenor sax; Michael Sessions, alto sax; James "Smitty" Smith, trumpet, fluegel horn; Thurman Green, trombone; Dante Chambers, vocals on Compared To What Recorded at Sage & Sound Studios, Hollywood, CA Engineer: Jim Mooney Mastering: John Polito at Audio Mechanics, Los Angeles Production Coordinator for Posi-Tone: Marc Free RayGraphs, Design & Layout by Ray Moss Executive Producer: Kikue Yamauchi Lire la suite