Subject: I have found a CD that I think you would enjoy
Soundtrack to Human Motion
Genres: Jazz, Pop, Soundtracks
This 20-something, Houston-born pianist emerged on the jazz scene with his brilliant work on alto-soprano saxophonist Greg Osby's recordings Zero and Banned in New York. With this debut, Moran is joined by Osby, vibraphoni... more »
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This 20-something, Houston-born pianist emerged on the jazz scene with his brilliant work on alto-soprano saxophonist Greg Osby's recordings Zero and Banned in New York. With this debut, Moran is joined by Osby, vibraphonist Stefon Harris, bassist Lonnie Plaxico, and drummer Eric Harland. What makes Moran stand out from his peers is the influence of the great pianist Andrew Hill, whose complex and elliptical pianisms effortlessly straddle the boundaries of mainstream and avant-garde styles. Moran adopts and updates Hill's musical conception well, as evidenced by the snaky melodic lines of "Gangsterism on Canvas," "Snake Stance," and "Kinetics." "Retrograde" constructs and deconstructs a 4/4 groove, and "Aquanaut" pulses with Moran's cascading harmonic waves that give it the déjà-vu vibe of Ornette Coleman's "Lonely Woman." "JAMO Meets SAMO" is a quirky, aural take on the paintings of Jean-Michel Basquiat, while the highlight of the CD is "Le Tombeau de Couperin/States of Art," a heartfelt reading of Maurice Ravel's French impressionist classic that segues into Moran's own equally impressive, trio-formatted composition. --Eugene Holley Jr.
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A beguiling debut
N. Dorward | Toronto, ON Canada | 03/20/2000
(3 out of 5 stars)
"I'd recently come across a mention of this disc by Ben Ratliff in the NY Times as the best jazz release of 1999. I was particularly intrigued to discover that Andrew Hill is among Moran's main influences.Listening to the disc, I think it's an excellent effort, but can't quite bring myself to rate it as highly as Ratliff (my own vote for best jazz disc of 1999, by the way, would have to go to Paul Bley's _Not Two, Not One_). It's a truly beautiful disc, rather cooler in temperature than the Hill influence would suggest. In fact there's perhaps as much Herbie Hancock as Hill in the mix (though the track "Aquanaut" overtly pays tribute to Hill's _Smokestack_ by combining bowed and plucked bass--I assume that unless there's an uncredited extra bassist on the album Lonnie Plaxico has overdubbed the arco). The understatement may appeal more to other listeners than to me; myself, I would like to hear Moran in a more explosive context, say with Ralph Peterson on drums & a more idiosyncratic saxophonist than Osby. There are some pretty stunning moments though: try "Snake Stance" or "Retrograde" for instance. OK, Mr Moran, let's see what your next disc is like...."
N. Dorward | 02/22/2000
(5 out of 5 stars)
"This c.d. absolutely moves me.The melodies stay with me constantly, and I find something new and wonderful with each listen.Jason, has his own style which is incredibly challenging yet simple.I put this c.d. on and it grooves from start to finish, it goes down like a cold glass of water on a very hot day! As a jazz fan, I get really excited when I hear young guys playing with so much heart and soul. Keep it up Jason, keep bringing great music like this along with Greg Osby, Stefon Harris, Mark Shim you guys give me hope and put a big smile on my face. THANK YOU!"
It has opened up my ears for REAL jazz. I love it!!!
N. Dorward | 04/16/1999
(5 out of 5 stars)
"Before listening to Jason play, I was not a jazz fan. He has opened my mind, my ears, and my heart to really appreciate jazz. He is more than talented, he is annointed with a gift. I look forward to what he has coming for us next."