Search - Jason Moran :: Modernistic

Moran shines on his first solo album

G. M. Jenkins | Mountain View, CA United States | 12/12/2002

(5 out of 5 stars)

"Jason Moran is one of a kind. He is equally influenced by classical music such as Schumann, whose "Auf Einer Burg/In A Fortress" is interpreted on this album. Moran was mentored by a handful of amazing pianists including Muhal Richard Abrams, Jaki Byard (one of my personal favorites), and Andrew Hill. But of course, he has come into his own and definitively showed his musical identity on this album.
I own his previous three albums which are all excellent, and to be honest, i was disappointed when i first got this album. I found it hard to get into, and didn't really listen to it much. I guess it just wasn't what i expected. Of course, one day i just picked it up after a few weeks and listened to it on my headphones by myself in my room, and i just got it. This is definitely a headphone album and may take time to truly appreciate.
This album, being a solo work by Moran, is unlike his other albums, but is a logical extension of them. It opens with a cover of James P. Johnson's "You've Got To Be Modernistic" which is still my favorite track on the album as Moran shows a mastery of old styles and an ability to expand on them in logical and interesting ways. The next track is "Body And Soul" which of course, everyone has heard a million times, but Moran makes it his own. He then goes into a strange but catchy rendition of Afrika Bambataa's "Planet Rock." This will grow on you. Moran also includes two new versions of his "Gangsterism" series and they are both really great. These are definitely something to look forward from album to album. There is also a song he does on mini-piano i believe called "Moran Tonk Circa 1936" which is Moran writing a stride-ish piece of his own. The other originals are very nice as well.
This is an album of great beauty. Most artists these days are capable of understatement, but Moran does this extremely well. He is not one to overwhelm the listener with his vision and knows that each note counts. Thankfully, he does not drag any of these songs on as the longest song is under six minutes, which is quite short for any jazz album. If you are not familiar with Moran, i would say that you are in for a treat. He is at all times avant-garde, accessible, virtuosic, eclectic, and just plain excellent."

A great performance

Cathy Austin | Oakland, CA United States | 12/13/2002

(4 out of 5 stars)

"The music is engaging, adventurous and quite accessible. I find myself listening to it over and over again. Jason's playing is rather good and there is still room to grow which is good. I listened to this after I listened to Mary Lou Williams live at the Keystone Corner 1977. Mary was such a strong player especially with her left hand. I'm not comparing the two, but after hearing Mary Lou, I noticed that Jason's statement was not as strong. I gave it 4 stars because there are many moods felt through, showing the variety of his playing. It was fun in some parts like the title track and Planet Rock. What a fun thing to do, taking Africa Bambaataa's music as a solo acoustic piaon peice (with little tidbits of electronics throughout). It took me back to the mid-80s, when Tommy Boy Records ruled. That was a bad-ass time. Jason added a darker sense to the sound. Like saying, "remember this, and don't you forget it!". I dug the way he used the full percussive elements of the piano. There are quiet and reflective moments like "Gentle Shifts South". He basically tore "Body and Soul" apart which is good for me because if I here one more bad rendition of that tune, I'll scream. It is a beautiful, although short rendition. Overall a great effort. The recording clocks in at around 42 minutes, a somewhat short statement. I only wish that he chalked in just a little more."

Descriptive Title

Samuel Chell | Kenosha,, WI United States | 11/04/2003

(4 out of 5 stars)

"The title says it all. These days traditional jazz is attracting very few young listeners, for whom "standards" from the "Great American Songbook" may as well be anthems played at baseball games. Jason Moran, like Brad Mehldau, has met the challenge by combining impressive chops and jazz savvy with music likely to connect with newer listeners who don't always respond to the material favored by Art Tatum, Bud Powell and Bill Evans. If the preference for "programmatic" music and the reliance on descriptive and narrative themes suggest "new age" music, the similarity ends with Moran's executions, which are inventive, frequently cerebral and even complex. And when he does take on a genuine standard, Johnny Green's "Body and Soul," he alters it just enough to insure it's accessibility. This album isn't my cup of tea, but Moran's pianism commands your respect along with his awareness of the need--for any artist who hopes to survive-- to adapt a tradition to a changing culture and listening population."