[.ca] Sequel

Chronique amazon.fr:
Mulgrew Miller est si souvent en studio pour les autres qu'il ne trouve plus guère le temps d'enregistrer ses propres albums. Le précédent, Getting To Know You, date de 1995. Entre deux séances, Miller a donc eu tout le loisir de peaufiner The Sequel, de choisir les musiciens qui allaient l'entourer. Deux d'entre eux, Steve Wilson à l'alto et au soprano et Steve Nelson au vibraphone, travaillent régulièrement avec le contrebassiste Dave Holland. En outre, le pianiste bénéficie d'un second souffleur en la personne du trompettiste Duane Eubanks. Leur musique ? Du bop bien sûr mais modernisé et lyrique à l'image des superbes compositions de Mulgrew. Principalement influencé par McCoy Tyner et Herbie Hancock, ce dernier, né en 1955, improvise avec une rare science harmonique. Son beau piano s'accorde magnifiquement avec le vibraphone de Nelson, aujourd'hui le plus grand spécialiste de l'instrument avec Stefon Harris. --Pierre de Chocqueuse

The best yet in a fine catalogue:
I first encounterd Mulgrew Miller on his brilliant early recording, Countdown. It was when I was first getting into jazz, and it featured some of the late Joe Henderson's finest sax work. It also had, I believe, a young Renee Rosnes on piano. I don't remember the drummer, but I think it might have been Billy Drummond, Renee's husband. Countdown was one of the records that facilitated my complete conversion to acoustic jazz from jazz lite. This new record, probably some 20 years hence from Countdown, only confirms Mulgrew Miller's early flowering of genius. Over the years, as jazz players often do, on account of the strange economics and aesthetics that control the jazz industry, Miller has struggled to find the proper musical context to optimally display his pianistic genius. Well, he's found it on The Sequel. Ostensibly a reprise of or follow up to another early Miller recording, Wingspan, The Sequel retains only Steve Nelson, probably the foremost practioner of his instrument, on vibes from the earlier group. All the other players (Steve Wilson on alto and soprano sax, Duane Eubanks on trumpet, Richie Goods on bass, and Karriem Riggins on drums) are new. Of these Karriem Riggins makes the strongest impression, with a deep groove and swing, brilliant colorations, and sheer rhythmic dynamism casually eminating from every stroke he takes. Duane Eubanks, Kevin and Robin's younger brother, also impresses mightly, as does Richie Goods, rock-solid on acoustic bass. I've never been that impressed with Steve Wilson, but he plays his butt off here and comes through like a champ. As for the headliner, with this record he seems to have vaulted himself to the very head of jazz pianists. He's more relaxed, more confident, more creative than I've ever heard him. Of particular note are the strength and variety of the compositions, from the elegiac, Middle-Eastern flavored "Know Wonder," to the Brazilian-drenched, sadly uplifting "Samba D'Blue," to the post-bop swing of "Go East Young Man." In the interior of the smartly packaged disc, Miller says, "I strive to compose beautiful melodies and interpret them with a beat that dances." I'd say he's admirably accomplished that goal here. It's been seven years since his last recording as a leader (although he's been on more than 200 recording dates in that time!), and it's been more than worth the wait. Highest recommendation.

Mulgrew....You Did It Again:
Since that fateful Carbondale, Illinois Autumn day in 1993, when I first heard Mulgrew Miller's "Hand in Hand" album, I have been in love with his music. Mulgrew Miller is an accomplished composer, arranger, performer and bandleader. The "Sequel" album is only the latest offering that displays Miller's complex style. I saw Miller play along side of Benny Golson at the 2001 Chicago Jazz Festival and I can tell you he is a treat to listen to. There is absolutely no filler on this album. Miller is yet to come out with an album that has filler. Its all substance dude!!!

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