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Yoojin Park debuts with "West End"

8/18/2014

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A debut album is always something intriguing and hopeful but rarely does such an album reward that hope with such fulfilment as Yoojin Park’s album “West End.” This is an album that creates even greater hope for what may be to come.

Born in Seoul, Korea, Park began music lessons at the age of three and took on the violin at the age of four. Her mother was a classically-trained pianist and, with Yoojin’s father, created an atmosphere of music love and appreciation. She studied Classical Violin Performance in Korea, graduating in 2006. In 2008, she completed her studies in Jazz Violin Performance at Boston’s Berklee School of Music. All of this trained and tempered Yoojin Park into a Jazz professional prepared for anything.

Park has gathered an impressive line-up for “West End.” Victor Gould is on piano, Lonnie Plaxico on bass, Montez Coleman on drums and Godwin Louis sits in on alto sax on tracks 1, 2, 4 and 8. The track list itself is a well-rounded collection of Park’s own compositions alongside standards from George Gershwin’s “Porgy and Bess” and Segal/Fisher piece as well as a cool cover of Freddie Hubbard.


PictureYoojin Park
The album opens with the 6/8 straight-up Jazz piece “Dancing Blossoms.” Piano, bass and drums kick off the Park composition very nicely before Park herself joins in. Certainly classically trained, Park also demonstrates—from the very beginning—that she has more than mastered her Jazz chops.

Plaxico and Coleman are clearly skilled and they have the awards, the appearances and the experience to prove it. Victor Gould is the youngest of the group but he shows from the outset that he is comfortable in this position and more than ready for the demands. He has previously played with Godwin Louis with whom he performs on this album.

All of these fine musicians—including the brilliant work from Louis—create the ideal platform for Park and her compositions and arrangements. It all begins beautifully with “Dancing Blossoms” which is a wonderful introduction to the rest of the album which doesn’t falter at any point right up to the conclusion.



PictureVictor Gould
From Park’s own dynamic composition, the following track moves to a Jascha Heifetz-transcribed Gershwin piece from “Porgy and Bess.” “It Ain’t Necessarily So” is performed with the sweet swing established by Park and Gould and taken over by Louis, Plaxico and Coleman.

The interplay between Park and Louis is good stuff. Park offers a genuinely soulful approach to the Jazz standard and she works it magnificently. With all the precision of her classical training at her disposal, Park can still interject raw and plaintive imagery into her version of the classic.

“West End” is an original composition from Yoojin Park herself. The piece is an exquisite display of her soulful side. The deep emotions coming forth from her violin are echoed wonderfully by Gould’s piano work. Plaxico and Coleman finely complete the sound and structure.

“West End” could very well become Park’s signature piece. It is a remarkable showcase of her talents in performance and writing. “West End” could be to Park what “Epistrophy” was to Thelonious Monk’s repertoire.


PictureLonnie Plaxico
She follows up the soul with a blues work which she also wrote. “12/8 Blues” is an exploration of an almost anthemic Blues approach. Louis’ alto sax is right on target and Gould adds a Gospel taste that serves to lighten the Blues.

Enter Plaxico’s bass solo, with his own Gospel-Blues taste, and the boundaries just explode. Coleman is behind it all in extraordinary form and carries the conclusion in what can only be described as a Gospel triumph.

Park then takes on another Heifetz transcription of a Gershwin number. “Summertime” is one of the most covered Jazz standards of all time but Park puts her definitive stamp on the standard in stunning ways. With Gould’s delicate touch and the swing of Plaxico and Coleman, “Summertime” still has the ability to make even the most hardened Jazz fan sit up and give a good hearing.

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“When Sunny Gets Blue” is a gorgeous Segal/Fisher piece that bends to Park’s bow with grace and subtlety. Gould’s touch is once again in sweet harmony with the violin as the rhythm section scores heavily with understated support. In unison, they create a touching track of depth and desire. Park is especially impressive in her delightful delicacy and richness. The music ascends as Park solos with a nod and a wink to “Oh, What a Beautiful Morning.”

“Yamaha Groove” is another Park original. This work shows a bit of the funkiness of Park and Plaxico comfortably fits into that style as Coleman maintains the Jazz rhythm. The groove is carried well by everyone, creating another unison piece that has Park free to ride the waves of that groove. This is an enjoyable and fun track. The flow of the entire group is flawless and seemingly effortless in this joint musical venture.

Freddie Hubbard’s “Up Jumped Spring” is conscientiously adapted by Park. The mellow alto sax is an almost haunting backdrop until Louis steps up to solo in lively and invigorating passages. Hubbard’s warm tonality is well-translated by Park’s violin. The piece loses nothing under Park’s respectful touch. So well done.

The album closes with “Banpo Streets.” It speaks of a neighborhood in north Seoul which borders the Han River. There is a French district here with restaurants and cafes.


PictureGodwin Louis
Written by Park, the song is a lovely ballad which evokes images of calm and relaxation. The andante tempo is conducive to the feel of a stroll along quiet streets. It is a fine and fitting end to an excellent album full of excitement and emotion.

In a decade of advancing Jazz violinists—like Tomoko Omura and Meg Okura—Yoojin Park establishes herself as part of that distinguished company.

Yoojin Park has truly gathered to herself an extraordinary corps of musicians of high caliber talents and experience. They precisely carry out her vision and sound. They are so well-placed together that they allow Park herself to be herself in all her honesty and depth.

“West End” is not only a debut, it is a herald that someone wonderful has arrived in the Jazz world.




Visit Yoojin Park's web site at: http://www.yoojinpark.com/

Purchase "West End"  here.

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Ken Husbands Trio is "Keepin' It Going" in All the Right Ways

8/16/2014

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Ken Husbands Trio is now on their third album, the second with this line-up. The music and the musicians have aligned perfectly for this stellar album.

Ken Husbands has spent time in a funk cover band and several years in Paris getting his Jazz chops sharpened to a razor’s edge. While there, he fell under the influence of North African styles and rhythms. He received a Ph.D in Jazz, studying the place of Jazz on French culture. In 2005, he moved to the Bay Area and started playing the best places and working with great musicians.

Two of those musicians were bassist Aaron Germain who has already released two CDs as a leader. The other is drummer Otto Huber who came to the Bay Area by way of Chicago where he was schooled in Jazz.

“Keepin’ It Going” is the title of Husbands’ third album and it is a rich and rewarding experience. The funk influence is heard right out of the gate on the opening track “East Coast Groupings.” It becomes immediately clear that this is going to be a fun and formidable album.

The song is jump-started by the quick guitar licks and syncopated pacing of Aaron Germain’s bass. The funky groove laid down by Germain and Huber is hot and durable. Husbands, meanwhile, does nothing to force it but rather creates an easy, flowing funk that makes the most of the time and talent of his rhythm section. Very virtuosic.


“Keepin’ It Going” shows off Germain’s electric bass madness as Husbands begins with a rhythm guitar strumming. Then Husbands and Germain shift leads a couple of times with Huber anchoring the rhythm for the string men. The drumming is almost an Elvin Jones straight Jazz approach and Huber owns the moment.


“Lucky Seven” starts off with a hard groove that is broken into segments by the guitar’s rapid interludes. Those interjections are complimentary and meaningful. The funk is still evident but the fusion takes a step forward on this—the second—track.

Husbands’ tones and distortions are well-placed and well-paced. There is a hint of the North African structures that he learned so well in France.


Huber puts on a good show in support of Husbands and Germain.

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Germain creates a fascinating sonic space with the echo-chamber effect. “Keepin’ It Going” is a splendid piece with fusion, Jazz and ambient representations. Husbands himself says that the piece is evocative of Weather Report.

“Goodbye Eddie” was written by bassist Aaron Germain and is the only track not recorded by Husbands himself. It calls to mind some of Eddie Gomez’ work, especially that with Ralph Towner and Bill Bruford. Germain takes center stage and makes every use of the opportunity.

Huber himself wastes no time in his moments, either. Again, he follows a straight-up Jazz approach as Husbands turns in an impressive nod and a wink to Wes Montgomery.

The fifth track is entitled “Almost Eleven” and contains riveting tempo twists and a rewardingly raw touch from Husbands while the bass takes off on a sweet on-going riff and groove with Huber. The guitar again incorporates some fine examples of eastern and North African influences melodies and rhythms. The distorted and bedeviled guitar solo is a work of great beauty and intrigue.

This is an intricate composition that the trio performs magnificently. It is perhaps the most appealing piece of the whole album.

A cool samba, “But I Don’t” sounds like Husbands’ reply to Thelonius Monks’ “Well, You Needn’t.” The subtle guitar is well-devised to sit atop the excellent rhythm work of Germain and Huber. This shows them to be the perfect-for-each-other trio.

The bass solo is a “no holds barred” melodic offering that is a fine set-up to Huber’s stunning drum solo. It is a classic send-off piece for the album.

“Keepin’ It Going” is an album that does just that. The pacing is relentless and the execution is rapid-fire. Each and every composition is on-target and captivating while the performances leave nothing lacking. The arc of the track placement certainly bends towards fulfillment.

Such an enjoyable album.




Visit Ken Husbands' web site at: http://www.kenhusbands.com

Purchase "Keepin' It Going" at http://www.cdbaby.com/cd/kenhusbands3


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