Same Mother

Artist: Jason Moran
Label: Blue Note Records
Category: Music

Average customer rating:

Media: Audio CD
Number Of Discs: 1

UPC: 724357178020
EAN: 0724357178020
ASIN: B00074CC64

Release Date: 2005-02-01

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Listmania:

Jammin'  Modern Jazz 'MoJa'
Focus: Piano (Through to the New Lions)

Tracks:

Gangsterism On The Rise
Jump Up
Aubade
G Suit Saltation
I'll Play The Blues For You
Fire Waltz
Field Of The Dead (excerpt from Alexander Nevsky)
Restin'
The Field
Gangsterism on the Set

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Customer Reviews:

Good album by a BRILLIANT musician........2005-08-27

I gave this 5 stars to even some of these absurd reviews. I rarely review but I had to in this case because off all the bashing of this album. Jason Moran is a wholly original pianist with alot of intense things to say. However, that is not for all people. This album is for the most part, incredible. It doesnt quite reach the heights of his stone cold classic Black Stars (w/ Sam Rivers) but it is still very good. Some of the guitar is overprocessed, but as a whole Jason Moran is taking the blues and rhythms one step farther. If you enjoy cutting edge jazz and shifting rhythms (a la Miles at the Plugged Nickel) do not hesitate to buy this set. If you are fan of preconceived notions and you require your music to sound they way you wanted it to sound like, stick to smooth jazz.

don't believe the hype.......2005-05-08

I've been hearing about Jason Moran for a while now and got a chance to hear this group live last night. I echo what someone else said--the guitarist is lame--but then so is the bassist--and Jason Moran is a noodler. He has nothing to say and he has no touch on the piano. If you like a lot of pointless noodling this is your record.

So talented it's disgusting.......2005-02-20

I can see why a lot of folks struggle with this one. It's loud (mostly). And irreverent, if not outright bizarre. And kinda THICK sounding, as if the mix isn't quite right. And even sorta scatterbrained, in an odd way. Plus, the vibe's a little difficult to lock into. Those were my first impressions. And I generally trust first impressions.

But since I have so much respect for Mr. Moran, I decided to set the disc aside for a while and see when I came back to it if I'd somehow in the meantime figured out what was going on. Well, I'm not sure I've completely done that, but I've got a few ideas.

First off, if this is a blues album, it's one of the strangest ones ever released. Containing at the most three authentic blues numbers, it rather scopes out lots of sentiments and sensibilities akin to but not really blues. Plus, there's a rather striking and firmly rooted classical thing going on. Second, no matter what anyone says to the contrary, Marvin Sewell, a longtime favorite of mine and a practically criminally neglected guitarist, plays his butt off. Third, the leader is in finest fettle both from a playing standpoint and compositionally.

The blues contained herein--"Jump Up" and "I'll Play the Blues for You"--are so good it's scary, especially the latter, which evokes huge waves of badness, fueled equally by Sewell's electrifying guitar statements and Moran's crazily apropos pianisms: Roadhouse blues on steroids. Several other numbers ("Fire Waltz" by that blues-drenched piano maestro, Mal Waldron; "Restin'," almost but not quite a down-and-dirty country blues, with as much nostalgia and jest plain trouble as Townes Van Zandt meets Mississippi John Hurt; and "The Field," dripping distress and age-old injury) flirt with the blues while operating substantially in related but ancillary sonic and emotive venues.

Special mention should be made of the "Gangsterism" numbers bookending the performance. I'm thinking they're largely responsible for many listeners' ambivalence toward this disc. Both feature disturbing low-end pianisms, gnarly raucousness, and that muddily annoying mix. And yet, as much as any of the other performances, they define this disc's vibe, for better or worse. I admit they were the most difficult pieces for me (and, probably, lots of other listeners) to track with. Thus, they represent artistic integrity of the first order. Surely, someone as savvy (despite his tender years) as Jason Moran knows full well the risk he's taking placing these sonic anomalies front-and-center. Yet, that he went ahead and did it anyway, not only displays outsize Conejos but chutzpah above and beyond the call of duty.

All in all, this is a MONSTER disc, vaulting the leader and his empathetic band into the very front ranks of modern jazz.

First impression a good impression.......2005-02-19

This is the first of Jason Moran I have heard. It is the best modern jazz I have heard. If it is the blues, etc.. the whole point is it comes from the same mother. Good stuff

Was there a Zero Stars option? .......2005-02-10

I actually enjoyed Jason's outing with Sam Rivers,
who brought some mastery into an otherwise suspect
conceptual situation. Jason admits that sometimes
he is playing non-sensical phrases in an attempt
to be modernistic. Then there's his jive stuff with
the tape machine, which I won't elaborate on.

But he really went the distance this time by hiring
truly one of the worst guitarists I've ever been
forced to listen to. This Sewell guy does nice things
in the background on Cassandra Wilson's various joints,
but leave the soloing to someone else. The resonator
bits are tasty enough, but that solo on "I'll Play
The Blues" is worse than a high school frequenter of
the local music store and his truly lame attempt to
play uptempo free improv is an embarrassment. Maybe
"JaMo"(which I agree, is corny) hired this poser to
make him sound better, which he does. Jason has some
stuff going on, and his rhythm section is on fire.

But he can, and should do better. Fire the guitar player,
or at least hire any one of the hundred or so players who
could contribute something of worth. Sewell is a real
stinker on this one. Just awful.

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