[JPL] Just for the record Bruce Hornsby - Question and Answer

[Bobby Jackson]

....Pardon the pun referenced in the Subject title..

I finally had a chance to glimpse the music from the new Bruce Hornsby. 
After listening I realize Questions and Answers is not the same tune found 
on the Metheny, DeJohnette, Holland record or the Roy Haynes record as I 
previously posted (without listening to, I just followed the lead of the 
comments on this thread)  about along with a few others.  The tune M,D & H 
performed is singularly, Question and Answer, not the plural title that 
Hornsby performs.  They are two different songs with two different titles.

I haven't had the chance to review Hornsby's entire record but from what 
I've heard, I like.  He is the real deal.

Bobby Jackson


----- Original Message ----- 
From: "Jazz Promo Services" <jazzpromo at earthlink.net>
To: <jazzproglist at jazzweek.com>
Sent: Wednesday, August 08, 2007 7:36 AM
Subject: Re: [JPL] Bruce Hornsby - Question and Answer


This Week's JPL Sponsor: Lisa Hilton ''The New York Sessions''

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http://www.nytimes.com/2007/08/06/arts/music/06choi.html?_r=1&ref=music&oref
=slogin

BRUCE HORNSBY
³Camp Meeting²
(Legacy)

Bruce Hornsby¹s music has always gestured toward jazz, if a bit obliquely.
As a pianist and songwriter, he finds ways of infusing even the most
straightforward pop tune with chord inversions, bop allusions, flights of
improvisation. With ³Camp Meeting² he has gone a step further, creating an
instrumental jazz album with the drummer Jack DeJohnette and the bassist
Christian McBride.

An air of defensiveness hangs over this enterprise, which opens with a
hide-and-seek Ornette Coleman composition, ³Questions and Answers,² and
later tackles John Coltrane¹s ³Giant Steps,² the jazz equivalent of a
standardized proficiency test. There are also themes by Bud Powell, Keith
Jarrett and Thelonious Monk, all pianistic influences. Respect obviously
isn¹t the problem here.

The problem, if that¹s what you want to call it, is Mr. Hornsby¹s
distinctive harmonic dialect and rhythmic stamp. His chord voicings on Miles
Davis¹s ³Solar,² for instance, end up turning it into something like a Bruce
Hornsby song. It doesn¹t help (or hurt, depending on your point of view)
that Mr. DeJohnette and Mr. McBride accommodate Mr. Hornsby so graciously,
bending toward a comfortably laid-back feel.

Perhaps predictably, Mr. Hornsby sounds least pressured when he¹s playing
his own songs. The most rewarding of the bunch is ³Stacked Mary Possum,²
which taps into the same mythic Appalachia conjured on Mr. Hornsby¹s recent
duet album with Ricky Skaggs. As the rhythm section brightly percolates
beside him, he plays as if he has nothing to lose, or fear. Maybe for a
moment he forgot he was playing jazz. NATE CHINEN

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''The New York Sessions'' (www.kochdistribution.com), the latest release by 
Lisa Hilton adds at radio August 6th.  The CD has received rave reviews, and 
many stations jumped early on the music, already placing it in the most 
added section on two radio charts.  As the producer, as well as the composer 
and pianist, Hilton finds the early response gratifying:
''In setting the tone for the session, I wanted to create tracks that were 
melodic, expressive and appealing.  I think Christian McBride, Lewis Nash, 
Jeremy Pelt and Steve Wilson did an amazing job with the music, and it's 
thrilling that we're getting a strong response right away''. 
www.LisaHiltonMusic.com

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