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Red Hill Quartet | Analog Man in a Digital World

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United States - California - LA

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Jazz: Modern Creative Jazz Avant Garde: Free Improvisation Moods: Type: Improvisational
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Analog Man in a Digital World

by Red Hill Quartet

Exciting, all original, straight ahead jazz with cross cultural influences.
Genre: Jazz: Modern Creative Jazz
Release Date: 

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  Song Share Time Download
1. About to Fall
7:12 $0.99
2. Monk Fairie
4:32 $0.99
3. Jennifer
6:21 $0.99
4. A Certain Point
4:03 $0.99
5. Sister Shirley
5:26 $0.99
6. Just Another Friday
3:59 $0.99
7. Blue Caller
3:53 $0.99
8. Octavio
6:43 $0.99
9. The Chant
5:03 $0.99
10. The Seeker
8:17 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
The Red Hill Quartet is an eclectic Los Angeles based jazz group comprised of top musicians from varied backgrounds who have come together to create the music they want to play. The members bring the influences of African, Indian, and Middle Eastern music while being solidly entrenched in the jazz tradition. This unique blend has generated enthusiastic response from traditional jazz audiences as well as those who never considered themselves jazz fans. For this reason, the band has been very successful in reaching younger music fans. The band has been playing clubs, concerts, and festivals in the Los Angeles area and has just released a new CD, Analog Man in a Digital World.

The band is based in Echo Park, an old hilly area northwest of downtown Los Angeles. Over the years, it has been home to many artists, musicians, and social and political activists. During the 1920s and 30s, the press came to call it Red Hill because of the perceived subversive activities of its residents. Over the years it has continued to nurture the spirit of art in all its humanistic expressions. The band is privileged to be based in this unique setting and draws its name and inspiration from the area and its artistic environment. For more information and to hear tracks from all our albums, please visit the band's website, www.redhillquartet.com

Harvey Lane - Tenor, Soprano, and Flute
Along with musical partner Ricky Luther, has led jazz groups in Los Angeles for many years. He has a big, open sound and plays with a great deal of passion. Album credits include releases on Atlantic/Atco, Varese Sarabande, and Aim Records.

Ricky Luther - Vibes, Keyboards
The most prolific composer in the band, Ricky's unconventional compositions provide much of the canvas the band uses for its musical images. His driving solos and unique approach to harmony add a great deal of texture to the sound.

Mark London Sims - Bass
The newest member of the band and one of the busiest bass players in Los Angeles, Mark's music covers the range from African to hip-hop, reggae and straight-ahead jazz. His compositional skills have brought a new flavor to the band's sound and can also be heard on a number of film scores. He has also lead the Art of Sound Composition workshop as part of the Artist Mentor program at the UCLA Hammer Museum. Mark has played with such diverse luminaries as Stevie Wonder, Don Cherry, Albert Tootie Heath, L. Shankar, Bennie Maupin, and Nels Cline.

Leonice Shinneman - Drums, Tabla, percussion
A former faculty member at California Institute of the Arts, Leonice's virtuosity in classical Indian music lends fire and rhythmic texture to the band. His jazz playing is characterized by quickness, sensitivity, and the ability to provide whatever feel is necessary to enhance the compositions. Leonice's versatility has given him the opportunity to work with such diverse artists as Indian music legends L. Shankar and Zakir Hussein, as well as Sting, Gino Vannelli, Rufus Wainwright and Frank Zappa.

DECEMBER 8, 2011 BY WILLIAM WOLFF (artsamerica.org)

They play original tunes almost exclusively, many written by vibraphonist Ricky Luther. If I had to categorize their original material, I’d venture to say that it’s a sort of post post-bop mélange of shifting modes and altered modes, topped off with memorable melodies and underpinned by an unwavering commitment to swing.

The arrangements offered plenty of room for all the players to stretch out and develop solos thematically without being self-indulgent. Thankfully, the band demonstrated respect – without condescension – for its audience by framing bass and drum solos with chordal downbeats signaling the start of a new chorus. And, in another demonstration of the band’s generosity, you can hear complete versions of a couple of their tunes on their website.

They opened their set with a Luther tune called “Squeezer Floyd,” a luscious exploration of the above-mentioned modes in 6/8 time. I’ve been a sucker for the churning, rolling rhythms of 6/8 time ever since I cut my teeth on Mingus’ “Better Get It In Your Soul” and Coltrane’s “Afro Blue,” so I was hooked after four bars. Luther wrings a ton of mileage out of his vibes, filling out the middle with richly textured comping and soloing as if he were born with mallets in his hands. Lane was quite the high-fly act, delivering adventurous yet organic variations on the melody on his soprano sax. Bassist Sims laid down the bottom with a terrific, warm tone, alternately walking and punctuating with propulsive rhythmic counterpoint. And drummer Shinneman provided the glue that held it all together, utilizing his prodigious chops to both complement and spur on his bandmates.

Later in the set, the band launched into a jazz interpretation of “March of the Lion,” from French late-Romantic composer Saint Saens’ musical suite, “The Carnival of the Animals.” A stately, haunting melody that shows just how much emotion and depth you can get out of Dorian mode, the tune showcased Shinneman playing tablas. Now, there are a lot of guys out there who play at playing the tablas, but Shinneman demonstrated a virtuosic command of tone and phrasing.

They closed with a blistering post-bop tune composed by saxophonist Lane entitled “Mobeus Trip.” By this time the sun had gone down and Lane was shivering and his teeth were chattering. But I never would have guessed it from the heat coming off the bandstand.

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