LIVE IN NEW YORK Import
ジャコ・パストリアスが残したジャパン・ツアー(1982年9月)の記録は、ライブ盤「Twins」に残されていますが、このニューヨークのライブは、日本公演の2ヶ月前の1982年6月末、このビッグ・バンドの全米でのデビュー・コンサートにあたります。その分ハプニングに満ちたスリリングな演奏や、メンバーも日本公演とは若干違い、アレンジも大きく異なっているところも聴き所です。自由な発想を持ったジャコだからこそ出来たことでしょう。特に(6)の「Mr.Fone Bone」は、これまでの「Birthday Concert」などジャコ・ビッグ・バンドの、どのライブ・アルバムにも収録されていない貴重なトラックです。デジパック仕様。
However, I was pleasantly surprised upon hearing Volume 4. First of all, Jaco's chops are strong here, and he takes extended solos on tunes we don't usually hear him play: Eddie Harris's "Freedom Jazz Dance," Coltrane's "Equinox," and Herbie Hancock's "Dolphin Dance." Second, his accompaniment is strong and imaginative. Third, the energy is high here. Unlike some of the other sessions in this series which just seem like intoxicated, careless free-for-all jams, the band seems really committed and concentrated on these performances. The only minus to my ears is the setting. On the "Live in NYC" series, we're not hearing Jaco in the lush electronic settings of Weather Report alongside Wayne Shorter and Joe Zawinul. Nor are we hearing him playing with any real jazz heavyweights, as he did on his solo albums. No disrespect to Kenwood Dennard and Hiram Bullock, but these are not players that will necessarily inspire Jaco to play at the peak of his game, in terms of chops and imagination. I hear them as basically a club band with alot of chops. Even so, Bullock and Dennard sound strong here, and if you can listen beyond the austere surroundings, you will hear some great playing from Jaco. This is probably some of his best playing from his later period. So I highly recommend this album for fans and students of his playing.
Where he gets off saying that Kenwood Dennard is not in the super league of drummers, and hence, uninspiring to Jaco, is a joke. Kenwood is by far one of the best drummers Jaco worked with in the 80's. His skill and timing are amazing. Lets see |YOU use the force, Obi, and try and even come close to Kenwood!