| Marc Ribot Trio — Live At The Village Vanguard [2014] |
![Marc Ribot Trio — Live At The Village Vanguard [May 13, 2014]](/obrazek/2/front-jpg-520/ "Marc Ribot Trio — Live At The Village Vanguard [May 13, 2014]")
Marc Ribot Trio — Live At The Village Vanguard
± The guitarist has played in just about every conceivable setting. For this live concert, his trio takes on Albert Ayler, John Coltrane, dirty blues, punk energy and fully liberated improvisation.
Born: May 21, 1954, Newark, New Jersey, United States
Origin: Newark, New Jersey, United States
Instruments: Guitar, vocals, trumpet, banjo, cornet
Album release: May 13, 2014
Recorded: from their 2012 residency at the venerable Village Vanguard
Record Label: Pi Recordings
Duration: 64:19
Tracks:
01. Dearly Beloved 15:07
02. The Wizard 8:00
03. Old Man River 6:37
04. I'm Confessin' (That I Love You) 8:13
05. Bells 19:09
06. Sun Ship 7:16
Personnel:
± Marc Ribot: guitar
± Henry Grimes: bass
± Chad Taylor: drums
•↔• "Coming this May, Marc along with his trio featuring bassist Henry Grimes and drummer Chad Taylor, will release a live recording on Pi Recordings from their 2012 residency at the venerable Village Vanguard. Not only was it Ribot’s debut as a leader at the iconic venue, the occasion also marked the first appearance by Grimes at the Vanguard since 1966. In a wide-ranging set, the trio plays the music of Ayler, covers tracks from the John Coltrane's album “Sun Ship,” and a standard or two."
In french:
•↔• Le talentueux guitariste aux multiples et éclectiques projets propose ici un album live enregistré au prestigieux "Village Vanguard". L'occasion de revisiter quelques standards et de mettre en évidence une partie de ses influences.
Website: http://www.marcribot.com/
MySpace: https://myspace.com/marcribotmusic
Twitter: https://twitter.com/marcribotmusic
Facebook: https://www.facebook.com/marcribot
NPR, 9 photos by John Rogers: http://www.npr.org/event/music/155441977/marc-ribot-trio-live-at-the-village-vanguard
_______________________________________________________________
REVIEW
By CHRIS BARTON, Score: 3 and 1/2 stars
± Titling an album "Live at the Village Vanguard" surely isn't something taken lightly by jazz artists. The storied Greenwich Village jazz club has hosted a wealth of almost mythic live recordings from the likes of Sonny Rollins, Bill Evans, Albert Ayler and John Coltrane.
± For the ever-restless Marc Ribot, it's Ayler and Coltrane who are the giants on his mind here. A searing venture through the avant garde that leaves room for graceful melody, Ribot's latest pays vivid tribute not just to a classic venue but also to the possibilities of the guitar trio. Ribot, a downtown New York City fixture who has collaborated with Tom Waits, John Zorn and Neko Case, has assembled a fierce band of drummer Chad Taylor (Chicago Underground Duo) and bassist Henry Grimes, who backed Ayler at the Vanguard for his 1967 live record.
± Some of Coltrane's last recordings get a welcome airing with the prayer-like "Dearly Beloved" unfurling from Ribot atop a stormy rhythm and a jagged yet nimble run through "Sun Ship." A few gentle dips into the pop songbook with "Old Man River" and "I'm Confessin' (That I Love You)" offer welcome breathers, but the free-blowing spirit of Ayler casts the largest shadow. At almost 20 minutes, "Bells" sprawls through a lush solo from Grimes balanced by Ribot's alternately delicate and searing runs. Midway through, a triumphant march coalesces, breaks apart and reemerges brighter and more urgent than ever. It would be wise to follow. (Ribot performs Monday, May 26, at Largo with his barbed avant-rock trio Ceramic Dog.) (http://www.latimes.com/)
REVIEW
By DAN BILAWSKY, Published: April 30, 2014
± Playing and recording at New York's Village Vanguard is often seen as a sign of ascendancy in the jazz world. For some, the honor is bestowed early on; for others, it comes at a more mature stage; and for a third group, it comes even further down the road. Guitarist Marc Ribot is part of that third group.
± This protean rabble-rouser has been an important part of New York's artistic landscape for decades, contributing to the music in more ways than anybody could ever count. His guitar has helped shape the sound on recordings from Tom Waits, Elvis Costello, John Lurie, Sam Phillips, Caetano Veloso, John Zorn, Joe Henry, and numerous others. His own efforts, documented on smaller labels like Pi and behemoth imprints like Atlantic, include audacious offerings and tributes to such disimilar figures as Cuban icon Arsenio Rodriguez, avant-garde giant Albert Ayler, and Ribot's mentor, Haitian guitarist/composer Frantz Casseus. Given all of this information, some may wonder why it took so long for Ribot to end up at the Village Vanguard. The answer could have something to do with the unpredictability behind his work or the fact that his music usually leans far to the left of what that legendary club typically offers. Regardless, it was nice to hear that he finally broke into that venue in 2012, and it's a good thing that the moment was captured for posterity.
± The ghost of Albert Ayler, John Coltrane's Sun Ship (Impulse, 1971), and the durability of the standard are the three themes that Ribot and company focus on during Live At The Village Vanguard. The guitarist and his band mates — drummer Chad Taylor, who's every bit as wonderfully unpredictable as the leader, and bassist Henry Grimes, who had last played the club with Ayler more than forty-five years before this album was recorded — go to town on the Coltrane and Ayler material. The program begins with Coltrane's "Dearly Beloved," which takes a long journey. The meandering arco bass of Grimes, accompanied by the whispers and clinking glasses of the audience members who were unaware that the show had started, leads to group calibration, swelling sounds, aural avalanches, and beautifully caustic antics that boil over. "Sun Ship," on the opposite end of the album, is more compact and blunt. It's ornery from the get-go. Ribot throws in a couple of zany, twisted quotes during his solo, and Taylor is wonderfully turbulent.
± The Ayler material has a different character to it. "The Wizard" comes out like avant-garde rockabilly, but fractures and fissures start to appear. This leads the trio to go off the rails, devolving as time marches on. "Bells" strikes a deeper chord in the mind and heart. Ribot's thoughtful guitar work leads to stirring ideas, but Grimes' solo leads to a more curious path. A slice of Americana arrives near the midway point of the song, with country-meets-folk-meets-bluegrass allusions, giving Ribot and company new material to twist and contort.
± It's odd to say that fairly direct interpretations of standards could be a surprise on a jazz album, but such is the case here. Ribot has made an art out of avoiding the expected, so the inclusion of "Old Man River" and "I'm Confessin' (That I Love You)" prove to be more shocking than the more abrasive moments on Live At The Village Vanguard. He trades solos with Taylor in controlled but gleeful fashion during "I'm Confessin (That I Love You)," and he delivers a tart-toned tale during "Old Man River." Grimes, renowned as an outside player, proves that he can work inside with the best of them.
± It would be overstating things to say that Ribot's engagement at the Village Vanguard, and this album documenting it, signal mass acceptance of his work. It wouldn't, however, be unfair to say that they indicate a growing audience for his magnificent and multifaceted artistry. Fortaken: http://www.allaboutjazz.com/
Discography:
± Rootless Cosmopolitans (Island, 1990)
± Requiem for What's His Name (Les Disques du Crepuscule, 1992)
± Marc Ribot Plays Solo Guitar Works of Frantz Casseus (Les Disques du Crepuscule, 1993)
± Shrek (Avant, 1994)
± Subsonic 1: Sounds of a Distant Episode with Shrek (Sub Rosa/Subsonic 1994)
± The Book of Heads (Tzadik, 1995) composed by John Zorn
± Don't Blame Me (DIW, 1995)
± Shoe String Symphonettes (Tzadik, 1997)
± The Prosthetic Cubans (Atlantic, 1998) with Los Cubanos Postizos
± Yo! I Killed Your God (Tzadik, 1999)
± Muy Divertido! (Atlantic, 2000) with Los Cubanos Postizos
± Saints (Atlantic, 2001)
± Inasmuch as Life is Borrowed (Ultima Vez, 2001) limited edition
± Scelsi Morning (Tzadik, 2003)
± Soundtracks Volume 2 (Tzadik, 2003)
± Spiritual Unity (Pi Recordings, 2005)
± Asmodeus: Book of Angels Volume 7 (Tzadik, 2007) composed by John Zorn
± xercises in Futility (Tzadik, 2008)
± Party Intellectuals (Pi Recordings, 2008) with Ceramic Dog
± Silent Movies (Pi Recordings, 2010)
± Your Turn (Northern Spy, 2013) with Ceramic Dog
_______________________________________________________________
| Marc Ribot Trio — Live At The Village Vanguard [2014] |
± The guitarist has played in just about every conceivable setting. For this live concert, his trio takes on Albert Ayler, John Coltrane, dirty blues, punk energy and fully liberated improvisation.
Born: May 21, 1954, Newark, New Jersey, United States
Origin: Newark, New Jersey, United States
Instruments: Guitar, vocals, trumpet, banjo, cornet
Album release: May 13, 2014
Recorded: from their 2012 residency at the venerable Village Vanguard
Record Label: Pi Recordings
Duration: 64:19
Tracks:
01. Dearly Beloved 15:07
02. The Wizard 8:00
03. Old Man River 6:37
04. I'm Confessin' (That I Love You) 8:13
05. Bells 19:09
06. Sun Ship 7:16
Personnel:
± Marc Ribot: guitar
± Henry Grimes: bass
± Chad Taylor: drums
•↔• "Coming this May, Marc along with his trio featuring bassist Henry Grimes and drummer Chad Taylor, will release a live recording on Pi Recordings from their 2012 residency at the venerable Village Vanguard. Not only was it Ribot’s debut as a leader at the iconic venue, the occasion also marked the first appearance by Grimes at the Vanguard since 1966. In a wide-ranging set, the trio plays the music of Ayler, covers tracks from the John Coltrane's album “Sun Ship,” and a standard or two."
In french:
•↔• Le talentueux guitariste aux multiples et éclectiques projets propose ici un album live enregistré au prestigieux "Village Vanguard". L'occasion de revisiter quelques standards et de mettre en évidence une partie de ses influences.
Website: http://www.marcribot.com/
MySpace: https://myspace.com/marcribotmusic
Twitter: https://twitter.com/marcribotmusic
Facebook: https://www.facebook.com/marcribot
NPR, 9 photos by John Rogers: http://www.npr.org/event/music/155441977/marc-ribot-trio-live-at-the-village-vanguard
_______________________________________________________________
REVIEW
By CHRIS BARTON, Score: 3 and 1/2 stars
± Titling an album "Live at the Village Vanguard" surely isn't something taken lightly by jazz artists. The storied Greenwich Village jazz club has hosted a wealth of almost mythic live recordings from the likes of Sonny Rollins, Bill Evans, Albert Ayler and John Coltrane.
± For the ever-restless Marc Ribot, it's Ayler and Coltrane who are the giants on his mind here. A searing venture through the avant garde that leaves room for graceful melody, Ribot's latest pays vivid tribute not just to a classic venue but also to the possibilities of the guitar trio. Ribot, a downtown New York City fixture who has collaborated with Tom Waits, John Zorn and Neko Case, has assembled a fierce band of drummer Chad Taylor (Chicago Underground Duo) and bassist Henry Grimes, who backed Ayler at the Vanguard for his 1967 live record.
± Some of Coltrane's last recordings get a welcome airing with the prayer-like "Dearly Beloved" unfurling from Ribot atop a stormy rhythm and a jagged yet nimble run through "Sun Ship." A few gentle dips into the pop songbook with "Old Man River" and "I'm Confessin' (That I Love You)" offer welcome breathers, but the free-blowing spirit of Ayler casts the largest shadow. At almost 20 minutes, "Bells" sprawls through a lush solo from Grimes balanced by Ribot's alternately delicate and searing runs. Midway through, a triumphant march coalesces, breaks apart and reemerges brighter and more urgent than ever. It would be wise to follow. (Ribot performs Monday, May 26, at Largo with his barbed avant-rock trio Ceramic Dog.) (http://www.latimes.com/)
REVIEW
By DAN BILAWSKY, Published: April 30, 2014
± Playing and recording at New York's Village Vanguard is often seen as a sign of ascendancy in the jazz world. For some, the honor is bestowed early on; for others, it comes at a more mature stage; and for a third group, it comes even further down the road. Guitarist Marc Ribot is part of that third group.
± This protean rabble-rouser has been an important part of New York's artistic landscape for decades, contributing to the music in more ways than anybody could ever count. His guitar has helped shape the sound on recordings from Tom Waits, Elvis Costello, John Lurie, Sam Phillips, Caetano Veloso, John Zorn, Joe Henry, and numerous others. His own efforts, documented on smaller labels like Pi and behemoth imprints like Atlantic, include audacious offerings and tributes to such disimilar figures as Cuban icon Arsenio Rodriguez, avant-garde giant Albert Ayler, and Ribot's mentor, Haitian guitarist/composer Frantz Casseus. Given all of this information, some may wonder why it took so long for Ribot to end up at the Village Vanguard. The answer could have something to do with the unpredictability behind his work or the fact that his music usually leans far to the left of what that legendary club typically offers. Regardless, it was nice to hear that he finally broke into that venue in 2012, and it's a good thing that the moment was captured for posterity.
± The ghost of Albert Ayler, John Coltrane's Sun Ship (Impulse, 1971), and the durability of the standard are the three themes that Ribot and company focus on during Live At The Village Vanguard. The guitarist and his band mates — drummer Chad Taylor, who's every bit as wonderfully unpredictable as the leader, and bassist Henry Grimes, who had last played the club with Ayler more than forty-five years before this album was recorded — go to town on the Coltrane and Ayler material. The program begins with Coltrane's "Dearly Beloved," which takes a long journey. The meandering arco bass of Grimes, accompanied by the whispers and clinking glasses of the audience members who were unaware that the show had started, leads to group calibration, swelling sounds, aural avalanches, and beautifully caustic antics that boil over. "Sun Ship," on the opposite end of the album, is more compact and blunt. It's ornery from the get-go. Ribot throws in a couple of zany, twisted quotes during his solo, and Taylor is wonderfully turbulent.
± The Ayler material has a different character to it. "The Wizard" comes out like avant-garde rockabilly, but fractures and fissures start to appear. This leads the trio to go off the rails, devolving as time marches on. "Bells" strikes a deeper chord in the mind and heart. Ribot's thoughtful guitar work leads to stirring ideas, but Grimes' solo leads to a more curious path. A slice of Americana arrives near the midway point of the song, with country-meets-folk-meets-bluegrass allusions, giving Ribot and company new material to twist and contort.
± It's odd to say that fairly direct interpretations of standards could be a surprise on a jazz album, but such is the case here. Ribot has made an art out of avoiding the expected, so the inclusion of "Old Man River" and "I'm Confessin' (That I Love You)" prove to be more shocking than the more abrasive moments on Live At The Village Vanguard. He trades solos with Taylor in controlled but gleeful fashion during "I'm Confessin (That I Love You)," and he delivers a tart-toned tale during "Old Man River." Grimes, renowned as an outside player, proves that he can work inside with the best of them.
± It would be overstating things to say that Ribot's engagement at the Village Vanguard, and this album documenting it, signal mass acceptance of his work. It wouldn't, however, be unfair to say that they indicate a growing audience for his magnificent and multifaceted artistry. Fortaken: http://www.allaboutjazz.com/
Discography:
± Rootless Cosmopolitans (Island, 1990)
± Requiem for What's His Name (Les Disques du Crepuscule, 1992)
± Marc Ribot Plays Solo Guitar Works of Frantz Casseus (Les Disques du Crepuscule, 1993)
± Shrek (Avant, 1994)
± Subsonic 1: Sounds of a Distant Episode with Shrek (Sub Rosa/Subsonic 1994)
± The Book of Heads (Tzadik, 1995) composed by John Zorn
± Don't Blame Me (DIW, 1995)
± Shoe String Symphonettes (Tzadik, 1997)
± The Prosthetic Cubans (Atlantic, 1998) with Los Cubanos Postizos
± Yo! I Killed Your God (Tzadik, 1999)
± Muy Divertido! (Atlantic, 2000) with Los Cubanos Postizos
± Saints (Atlantic, 2001)
± Inasmuch as Life is Borrowed (Ultima Vez, 2001) limited edition
± Scelsi Morning (Tzadik, 2003)
± Soundtracks Volume 2 (Tzadik, 2003)
± Spiritual Unity (Pi Recordings, 2005)
± Asmodeus: Book of Angels Volume 7 (Tzadik, 2007) composed by John Zorn
± xercises in Futility (Tzadik, 2008)
± Party Intellectuals (Pi Recordings, 2008) with Ceramic Dog
± Silent Movies (Pi Recordings, 2010)
± Your Turn (Northern Spy, 2013) with Ceramic Dog
_______________________________________________________________