ALL THE MORE
These 1993 recordings (released on a 1997 CD) are an excellent showcase for trumpeter Kenny Wheeler. Six of the eight compositions are his (all but drummer Pat Labarbera's "Kind of Bill" and the closing standard "Summer Night"); Wheeler's mostly mellow-toned trumpet matches very well with the lyrical piano of John Taylor (who has worked with Wheeler on and off for 20 years), bassist Furio Di Castri and Labarbera. Wheeler can sound so peaceful and wistful that it is always a surprise when he displays his wide range and hits some impressive high notes, as he does in spots throughout the set. His originals are complex yet friendly, unpredictable but logical, always seeming to develop gradually until their conclusion. He is also very democratic in allocating solo space. Well worth picking up.All Music Guide
ALL THE MORE
Kenny Wheeler's gorgeous trumpet anchors these tracks, but also attracting attention here is the understated beauty and subtle adventurousness of John Taylor's piano. With that kind of combination in his playing, Taylor is a perfect match for Wheeler, who has straddled a few divides in his time. Much of this disc features the ethereal ECM-ish music Wheeler has made his trademark, but some of it harks back to Wheeler's earlier days as a pillar of the English "free music" scene along with John Stevens, Derek Bailey, Evan Parker, and another refugee from the edge, bassist Dave Holland. On "All the More" Wheeler plays with fire and resorts here and there to some of the expanded techniques that those musicians were and are searching for. Here, of course, such effects are thoroughly integrated into the fabric of conventional jazz form, so that they do not jar but add an emotional fire to the music.
To hear Wheeler's immense sound in full glory, don't miss "Summer Night," where it is washed in the ebbs and flows of Joe LaBarbera's drums but still comes through sharply, clearly, beautifully.All About Jazz
Kenny Wheeler - All the More
Echando la vista atrás más de quince años descubriremos en esta reedición a un Wheeler más cercano al standard. De hecho incluye uno como excepción al material original, elección temática o nostálgica a la que el trompetista no nos tenía acostumbrados y en la que acaba de profundizar con sus arreglos e interpretación en “Nineteen Plus One” junto a la Colours Jazz Orchestra. A excepción de la pieza homónima -en un contexto a caballo entre el modal y el hard bop- las líneas maestras de esta grabación guardan algo de la atmósfera y del sentido melódico de aquel Evans de las postrimerías y también de Legrand. Joe LaBarbera se suma a esa intención con una composición de gran belleza. Al canadiense le quedó la espina de no haber podido compartir escenario con Evans… Interpretando su “Introduction to no Particular Song” acompañado por esa magnífica sección rítmica se dio un buen paseo por el cielo. Las notas -otro punto a favor- son de Evan Parker.15/01/10cuadernosdejazz.com