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MP3 Pere Soto & Bill Gerhardt Quartet - Particular Vernacular
10 MP3 Songs in this album (61:29) !
Related styles: JAZZ: Avant-Garde Jazz, JAZZ: Contemporary Jazz
Details:
Pere Soto & Bill Gerhardt Quartet
Particular Venacular
CD 017 Planet x records
Recorded 2/24 & 3/16, 1994 at Acoustic Recordings NYC
by Jon Rosenberg assisted by Michael Brorby
masterded by Joe Bartoldus at Current Sounds
produced by Bill Gerhardt Planet X. Productions, Amsterdam, Holland.
Musicians
Dave Douglas:trumpet
David Liebman:soprano sax
Pere Soto:guitar
Bill Gerhardt: piano
Ben Allison: bass
Jeff Ballard:drums
REVIEW
Despite the personnel listing, trumpeter Dave Douglas and soprano saxophonist David Liebman are only on a few selections, so most of Particular Vernacular features a quartet co-led by pianist Bill Gerhardt and guitarist Pere Soto. Soto''s tonal distortions sometimes make the music sound more modern than it actually is although there are sections of fairly free exploration. The performances range from the relatively straight-ahead blues "Born Again" to the extensive and episodic "Reina Reflexia." A spaced-out blues "Particular Vernacular" both opens and closes the consistently stimulating and unpredictable set, one that is well worth checking out and full of subtle surprises. ~ Scott Yanow, All Music Guide
JAZZTIMES OCTOBER 1997
Bill Gerhardt and Pere Soto
Particular Vernacular
Planet X
By Bill Bennett
Two takes on the striking title composition bookend the eight other compositions in this intriguing and beautifully realized set. Not a standard on the bill of fare, but a variety of approaches to form and musical communication, anchored in a hard-swinging free bop sensibility. The core quartet, fronted by Gerhardt on piano and Soto on guitar, includes Ben Allison on bass and Jeff Ballard on drums. Spicing up the mix are Dave Douglas on trumpet and Dave Liebman on soprano sax. The group achieves some memorable ensemble moments on the title track; its reprise follows the climactic performance of "Per Elisa," which builds steadily through its length. Other highlights include Ballard''s integral fours on "Twenty-One," and the gut-level blues of "Born Again." Douglas'' exuberant energy is always applied to the service of the composition, and Liebman throughout demonstrates his gift for getting to the essence of the situation. The leaders are wonderfully matched as soloists, choosing focused lines often marked by broken rhythms.
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