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All About Jazz
Most of us find that there are certain musicians who speak to us through their music in a profound way that makes for a special connection. These are the artists who find a prominent space in our collections because we continuously seek out all of their current musical endeavors. For this reviewer, saxophonist Walt Weiskopf has always been a musician to watch. Not to take anything away from other jazz saxophonists, but Weiskopf's musical persona is the complete package. He has an identifiable sound, chops aplenty, great ideas, and a strong emotional base that is often absent in other technically gifted players. Beginning with 1993's Simplicity, Weiskopf has led a strapping and diverse series of albums for Criss Cross that rank among the finest the label has to offer. Additionally, his name has been getting out there more frequently these days as he continues to perform with rock icon Steely Dan. His first large ensemble work since Siren (Criss Cross, 2000), Day In Night Out brings back a few familiar faces from his previous nonet records, but ultimately opts for a smaller unit composed of some new friends. As usual, the emphasis here is on Weiskopf's own unique compositions and a few sagacious reworkings of select standards. The title track opens up the program with one of Walt's signature licks, namely a tightly voiced serpentine melody with the saxophone choir speaking and breathing as one. Harmonized backing lines soon follow and the whole thing ends up sounding much larger than the sum of these few parts. Weiskopf has a wonderful knack for working in three quarter time and "West Side Waltz" is just the latest example of his prowess. It's also a great place to hear the palette of colors he uses in creating his canvas which, in this case, finds the humming of flutes figuring prominently in the mix. Rich textures and hues mark the slower numbers such as "City of Sin" and "Off Yellow," where Weiskopf gives as much prominence to the ensemble structures as he does to the solos. It's interesting to note that in the liners, the saxophonist comments on the influence of Don Sebesky and the CTI albums of the '70s. He comments on the iconic arranger's skill of achieving a large sound with a small number of musicians and that's exactly what Weiskopft attains in his work here, as heard in the cacophony he generates on the opening gambit of "Lean and Green." Equally intriguing are the horn accents that punctuate a splendid reading of "Heather on the Hill," yet another standard to get the red carpet treatment arranging wise from Weiskopf. As a leader, Weiskopf is more than generous with sharing the solo space. Prominent in the mix are Andy Fusco, a firebrand with a sound that nods towards James Spaulding, and Gary Smulyan, heir apparent to the burly style of the late, great Pepper Adams. Filling some big shoes is drummer Kendrick Scott, since Weiskopf usually prefers the company of modern powerhouse Billy Drummond. What Scott may lack in visceral punch, he more than makes up for in a swinging beat and crisp sound that shades his accompaniment to the needs of the arrangement. Weiskopf himself is so fluent that he is able to execute anything and his tone retains its weight regardless of range. A thoroughly accomplished work from start to finish, Day In Night Out can be appreciated for its technical virtuosity, bur remains surprisingly accessible. It not only sets a benchmark for jazz that functions within the tradition, but speaks with individuality and emotional attachment. Need one ask for anything more? |
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Jazz Fest 99:What are the top five
albums on your listening list today? Taken from the J & R Downtown Jazz Fest interview of guitarist Pat Metheny. |
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Anytown Criss Cross Jazz 1169 (59:12) Tenorist
Weiskopf plays with an urgency borne of a dedication to post-Coltrane
tenoring that, while incorporating the past, is centered in the
here and now. There's electiricity in Weiskopf's sound. Dark and
edgy, it's a sonic bulldozer, relentless probing and pushing. Throughout
this program of bracing originals, the New York tenorist gets hand
in glove support from vibraphonist Joe Locke, pianist Renee Rosnes,
bassist Doug Weiss and drummer Tony Reedus. It's a geniune group
effort unreeling along deep and pulsating grooves.
"This graduate of the Buddy Rich band and
the Toshiko Akiyoshi Jazz Orchestra is a highly potent tenor saxophonist
who demonstrates a strong Trane-Rollins influence along with an
urgent, risk taking quality on a series of final small label releases."
"It takes but a moment to detect the shaping
influence of John Coltrane in the muscular tenoring of saxophonist
Walt Weiskopf. Indeed, Weiskopf is the author of Coltrane: A Player's
Guide to His Harmony. Here, Weiskopf taps the Coltrane who deconstructed
the standards of Tin Pan Alley in quest of searing, harmonically
driven approach to improvisation. It's a bold gambit, but one which
Weiskopf pulls off with an aplomb that startles, and even amazes.
And though, Trane echoes everywhere, Weiskopf nonetheless emerges
his own man, a feat unto itself."
"...He appears to be ready and able to make
a substantive contribution to the music. This is definitely recommended
listing (on Simplicity)." Mel Martin, Saxophone Journal "Weiskopf
is one of the great composers of modern jazz; his tune "Simplicity"
has a lovely repeated note figure with shifting harmonies underneath.
The crowd, roared enthusiastically as the band crested and rode
emotional waves of sound" |
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THE WASHINGTON POST
There's almost no end to the list of saxophonist-composers in jazz, though few play and write as well as this young big band veteran whose professional credits include stints with the Buddy Rich and Toshiko Akiyoshi ensembles. As a player, Weiskopf commands a virile tenor sound that has inspired critics and fans alike to make flattering comparisons with John Coltrane. Just as impressive, though, are Weiskopf's gifts as a composer. He draws from a broad range of tones and textures, something that was particularly apparent on his last nonet session, and imbues all of his own recordings with plenty of light and life. "Sleepless Nights" finds Weiskopf in a sextet setting, playing tenor with his usual authority and contributing seven original tunes and a genuinely fresh arrangement of the Frank Sinatra standard "Come Rain or Come Shine."
As you might expect of a musician who has spent
a lot of time in a big band horn section, Weiskopf appreciates the
kind of robust and spiraling harmonies that introduce the album's
opening number, "Inner Loop," and the colorful melding of reeds and
brass heard on "Liberian Lullaby." Yet for all the horn section craft
and cunning on display, Weiskopf doesn't write for just the talented
frontline, which includes alto saxist Andy Fusco and trombonist Conrad
Herwig. Treating the sextet as a choherent voice for his compositions,
Weiskopf is careful to make the fhythm section composed of pianist
Joel Weiskopf, Walt's younger brother, bassist James Genus and drummer
Billy Drummond integral to his alternately intimate and explosive
sound.
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DOWNBEAT
Snidero and Weiskopf are members of that mid-30s demographic of journeymen N.Y.C.-based players who, despite a good deal of activity and renown, remain under-recognized. Currently on an indie labels, these are the type of stalwart musicians the majors should document and support. Snidero, the altoist, is spotlighted on Song For My Mother, which is Weiskopf's third Criss Cross effort. On this winter 1995 session, Weiskopf fully, and intriguingly, employs his available timbres, craftily interweaving brass and reed lines. Three alto flutes state the dancing theme of "High Noon," underpinned by bass clarinet and brass. The bracing "Barebones," a wild blues variant, has a gritty intro built off a baritone sax/brass ostinato; the theme from "End Of The Year So Soon" has delicate contrapuntal lines in its melody statement played by upper-register tenor, alto and flute. The leader's tenor is featured on each tune, and he improvises with his customary vigor and enterprise. He cherishes bebop but looks for other means of communication, mixing lines that have a pleasing meliflousness with those that are more agitated. On "Barebones," he places intense flurries against long, beseeching notes; on "Where Is Love," he exploits his appealing sound as he delivers sweet yet complex statements. The crew is first-rate.
Joe Magnarelli is a '90s
Kenny Dorham: Using a big sound, he finds the hippest notes, no matter
the context. Anders Bostrom is a European flutist who can swing handily,
Conrad Herwig get a deliciously creamy bone tone, Joel Weiskopf is
a splendid, inventive pianist and Scott Robinson is a remarkable baritonist
and bass clarinetist. Peter Washington and Billy Drummond, a regular
pair at Criss Cross, are so supportive; they exhilaratingly drive
this music.
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Crusader This past year provided us with an immense amount of new music, the majority of it coming in at an unusually high caliber. For the first time since I began compiling my yearly lists, I've decided to limit the number of reissues included on the list because there were simply too many impressive new releases that merited discussion. With no further ado, here's the best jazz picks that 1997 had to offer. 10. John Coltrane - THE COMPLETE 1961 VILLAGE VANGUARD RECORDINGS (Impulse) - Although previously available in Japan, this is the first American packaging of this mear mythical material and its appearance has been long overdue. Coltrane's classic quartet (McCoy Tyner, Jimmy Garrison and Elvin Jones) is heard here along with such special guests as Eric Dolphy and Reggie Workman. A MUST HEAR! 9. Bill Evans - THE COMPLETE VERVE RECORDINGS (Verve) - This CD boxed set is hefty (it is literally housed in a steel metal box). It includes previously unissued performances as part of this package, you haven't heard Evans until you've checked this one out. 8. John Abercrombie - TACTICS (ECM) -Abercrombie's killer trio with organist Dan Wall (currently making his home in Cleveland!) and drummer Adam Nussbaum is caught before a live audience on a generously-long set that simply cooks. As they say, "the pots were on." 7. Billy Harper - IF OUR HEARTS COULD ONLY SEE (DIW/Disc Union) - Even though he remains far from a household name, tenor saxophonist Billy Harper is easily one of jazz's modern day treasures. His usual quintet (highlighted by trumpeter Eddie Henderson and pianist Francesca Tanksley) is featured along with the debut of Harper's rich vocals. 6.Horace Silver - PRESCRIPTION FOR THE BLUES (Impluse) - Reuniting with the Brecker Brothers and bassist Ron Carter and drummer Louis Hayes, this groovy disc is Silver's finest record since the Blue Note days. 5. Pat Metheny Group - IMAGINARY DAY (Warner Bros.) - after 20 years with this group, Metheny and pianist Lyle Mays continue to make vital music and this is their greatest effort yet. Simply put, this is a gem and worthy of your attention. 4. Clarence Penn - PENN'S LANDING (Criss Cross Jazz) - This young drummer makes a dazzling debut with a piano-less quartet date featuring trumpeter John Swana, saxophonist Ron Blake and bassist Rodney Whitaker. Influenced by Elvin Jones, Penn leads with courage and great technical fluency. Highly recommended! 3. Steve Swallow - RECONSTRUCTED (ECM) Bassist Swallow leads a hard bop quintet with Chris Potter and Ryan Kisor and writes some exceptional lines using old standards as a base. Who says jazz can't be fun and profound at the same time? 2. Victor Lewis - EEEYYESS! (Enja) - Drummer and composer Lewis shows here why he was such a valuable contributor to Bobby Watson's talented ensemble. Potent Lewis compositions and sprightly solo work from trumpeter Terrel Stafford, saxophonist Seamus Blake, and pianist Stephen Scott all make for a joyous romp. 1. Walt Weiskopf - SONG FOR MY MOTHER (Criss Cross Jazz) - Weiskopf is frankly one of the most talented composers and tenor saxophonists to emerge in the last 15 years. His nine-piece group explores an excellent program of Weiskopf originals and two brilliantly-arranged standards. Simply the BEST release of the year! |
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Durham Morning Herald
A number of last year's "new names" in jazz from this column and some this column missed, are deserving of recognition now as emerging stars, poised at the point of liftoff of just up. Among those with new releases are Bobby Watson, John Hicks, Kenny Werner, James Morrison, Walt Weiskopf, John Campbell, Birele Lagrene and Ralph Moore. Weiskopf is out of the Toshiko Akiyoshi-Lew Tabackin band, a Getzian tenor with a happy, extroverted sound, good chops, and taste. He follows up on an earlier effort for Iris (Exact Science) with MindWalking, which exhibits more heat and control. |
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JAZZIZ The Toshiko Akiyoshi Jazz Orchestra has featured a young saxophonist who, based on his debut as leader, sounds like he'll be a player to be reckoned with. Walt Weiskopf's Exact Science (Iris Records, P.O. Box 422, Port Washington, New York 11050), a CD that just about explodes with intriguing ideas, is one of the year's best surprises. This quartet release isn't exactly mainstream. Unless your idea of main stream is Joe Henderson, John Coltrane, and Andrew Hill -- three of the more apparent influences Weiskopf uses to excellent effect on the nine originals here. Rodgers and Hart's "Falling in Love with Love" is the only standard. Weiskopf's tenor is solid in body and thrust; his writing, though, is what makes this release a standout. It's variously ethereal, gritty, introspective and shocking. Brother Joel Weiskopf on piano, drummer Jeff Hirshfield, and bassist Jay Anderson stay in the groove the entire way, maintaining the spirit of the leader's fine compositions. |
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JAZZTIMES cd & record reviews
This release represents the debut of 30-year-old tenor man Walt Weiskopf as a leader and featured artist. It reveals him as both a very talented soloist and composer of nine of the 10 pieces performed here. Moreover, the liner notes indicate that, in collaboration with Nick Prout, he was responsible for the production and mixing of this recording. He is clearly a versatile young man. Walt Weiskopf grew up in Syracuse, NY, where he started playing clarinet at a tender age, but soon switched to alto. After graduating (in three years) from the Eastman School of Music, he moved to New York City in 1980. There, he soon picked up the tenor and joined Buddy Rich's band. He left Rich late in 1982 and signed on with Toshiko Akiyoshi in the spring of 1983. He came to be a featured soloist in concerts and recordings with the Akiyoshi band and discovered that the tenor was his real "voice". The present stage in the young musician's evolution began when he joined forces with brother Joel and the others on this recording to form the Walt Weiskopf Quartet. The group has now been playing together in the New York area for about five years in preparation for their premiere here. The music presented in this collection is rhythmically and harmonically innovative. The original compositions are introspective and sometimes haunting, but always fresh and swinging. I was particularly taken by Intuition; Scenes from Childhood, and the title piece Exact Science. The set concludes with an upbeat treatment of the Rodgers and Hart standard, Falling In Love With Love.
The musicianship is first-rate, Walt's
tenor dominates the performance, but Joel's (sometimes Bill Evans-like)
piano is heard to fine advantage on most of the cuts. This is definitely
a group to watch.
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Syracuse New Times
With this impressive debut, Weiskopf will join Tim Berne as one of upstate New York's saxophone iconoclasts. Eschewing the trappings of fusion and pop jazz, tenor player Weiskopf -- like alto specialist Berne -- proceeds in a more cerebral and esoteric direction. Joined by his brother Joel on piano, Jay Anderson on bass, and Jeff Hirshfield on drums, Weiskopf sets out to extend the traditions of the great bop artists. His 9 original compositions alternately peer dolefully inward (bop musicians lead such uncertain lives) and reel forward on the brink of balance, saved ultimately by their own sense of undeniable gravity. Over these often eccentric syncopations, Weiskopf's phrasing is terse and composed. Long, notey runs -- the signature of bop -- are foiled by supine figures and precise, surgical strikes at the melody and its infinite possibilities. Nothing is wasted here, and the only things both relevant and necessary are included.
After growing up near Syracuse and studying
at Rochester's Eastman School, Weiskopf migrated to New York City
in 1980 and hooked up with Buddy Rich's and Toshiko Akiyoshi's big
bands. With this hopefully auspicious beginning, the Central New York
native has made a strong, clear statement about his future as the
leader of a small ensemble.
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THE BOSTON HERALD
Tuesday night's visit to Scullers by
the Walt Weiskopf Quartet drove home a point followers of Boston's
music scene have known for years: You don't need to be a big name
to make interesting music. Brooklyn-based tenor saxophonist Weiskopf
isn't exactly a new face; he has spent much of the last decade working
in the big bands of Buddy Rich and Toshiko Akiyoshi. Nor are his bandmates
novices. Besides leading her own group -- which sometimes includes
Weiskopf -- pianist As the replacement for Weiskopf's brother, Joel, Rosnes' lighter style proved to be the ideal foil for the leader's aggressive, sharp-toned attacks. The pianist made the often knotty jumps in Weiskopf's songs sound seamless. Major reputations or not, the fresh, simmering intensity Weiskopf and his quartet brought to Boston is welcome anytime. Renee Rosnes has teamed with James Moody, Wayne Shorter and Jon Faddis; bassist Jay Anderson is member of Michael Brecker's quintet; and drummer Jeff Hirshfield has backed such heavies as Mike Stern and Jim Hall. Still, none of the four is a household name, but the quartet played as if it wanted to become better known. Weiskopf's writing gave the group a distinct advantage right off the bat. Owing more to the harmonic adventurism of John Coltrane that to predictable big band swing, his pieces -- at their best -- blended unexpected tempo shifts and off beat melodic Weiskopf quartet's set a sizzler. |