Text in englischer Sprache verfügbarPost-bop saxophonist Chris Potter quietly became one of the more sophisticated and respected stylists of the '90s and early 2000s, both as a leader and as a sideman in several prominent groups. Born in Chicago on New Year's Day 1971, Potter grew up mostly in Columbia, South Carolina, and started playing piano as a child. He took up the alto saxophone at age ten, initially inspired by Paul Desmond and Johnny Hodges, and went on to learn tenor and soprano sax, bass clarinet, and flute; by 13, he was performing professionally. At age 18, he moved to New York to attend the Manhattan School of Music, and quickly joined veteran bop trumpeter Red Rodney's quintet, with whom he performed until Rodney's death in 1994. Meanwhile, he started playing on the side with Jazz Mentality and John Hart in 1992, and at the end of the year cut his first album as a leader, Presenting Chris Potter, for the Dutch Criss Cross label. In early 1993, he guested on Marian McPartland's In My Life on Concord Jazz, which led to a deal of his own with the label; despite their generally mainstream output, they promised the more adventurous Potter full creative control. Potter's first album to achieve widespread release in the U.S. was his Concord debut, Concentric Circles, and it received generally excellent reviews, marking him as a name to watch. Gigs with Paul Motian, Renee Rosnes, John Patitucci, and Steely Dan's reunion tour raised his profile over the next two years, and he cut two more dates for Concord in 1994: Pure and a duo album with onetime instructor Kenny Werner. In addition to keeping up his associations with Motian and Jazz Mentality, Potter went on to play with the Mingus Big Band (which helped his stock rise even higher) and Steve Swallow, and completed another album, Moving In, in 1996. For the following year's Unspoken, Potter hauled out a big-time rhythm section of guitarist John Scofield, bassist Dave Holland, and drummer Jack DeJohnette. Unfortunately, Potter subsequently suffered a bout with Meniere's disease, a recurring condition that eroded much of the hearing in one ear. It didn't prevent him from continuing his career, though, and his next solo offering, 1998's Vertigo, consolidated his growing critical goodwill; it also found him leading his own quartet, anchored by bassist Scott Colley. That same year, Potter took on two of his most important side gigs: he joined Dave Holland's acclaimed quintet, and also began playing with fast-rising trumpet star Dave Douglas. For the next few years, Potter concentrated mostly on playing and touring with those artists, as well as Motian and Jim Hall; he was also nominated for a Grammy thanks to his solo work on "In Vogue," a track from Joanne Brackeen's 1999 album Pink Elephant Magic. In 2000, Potter was named the recipient of Denmark's prestigious Jazzpar Prize, making him the youngest person ever to win the award. He was also heavily featured on Steely Dan's Grammy-winning comeback album Two Against Nature, gaining his widest exposure yet. He left Concord Jazz to sign with Verve, and offered his label debut with 2001's Gratitude, a widely acclaimed album paying tribute to past saxophone greats. At this point, his quartet included Colley, keyboardist Kevin Hayes, and drummer Brian Blade; Blade was replaced by Bill Stewart for the 2002 follow-up Traveling Mercies and Lift: Live at the Village Vanguard, the latter of which appeared in 2004 on Sunnyside. A new band with guitarist Wayne Krantz, keyboardist Craig Taborn, and drummer Nate Smith was introduced on the 2006 release Underground. Song for Anyone appeared in 2007, featuring a new quartet and a pair of string players. He appeared as part of Motian's trio on 2010's Lost in a Dream, and led the NDR Bigband on Transatlantic for EMI in 2011. In early 2013, Potter made his debut as a leader for ECM on the album Sirens. His compositions for the set were inspired by episodes in Homer's epic poem The Odyssey. His quintet for the date included Taborn (piano), David Virelles (prepared piano, celeste, harmonium), Larry Grenadier (double bass), and Eric Harland (drums). The saxophonist expanded the reach of his Underground quartet for 2015's Imaginary Cities. In addition to its original lineup, Potter added two bass players and a string quartet. The album was credited to the Chris Potter Underground Orchestra. Zea, a live recording with Hungarian ethno-jazz group Mihály Dresch Quartet, arrived in 2017. Also in 2017, Potter delivered his third leader date for ECM, The Dreamer Is the Dream. Recorded at New York's Avatar Studios with producer Manfred Eicher, the album also featured pianist David Virelles, drummer Marcus Gilmore, and bassist Joe Martin -- all ECM veterans who deliver a rhythm-heavy sound. The quartet developed the six new tunes and worked out charts over a few days in Switzerland before coming to North America to record. The saxophonist returned in 2019 with Circuits, a quartet date that found him exploring the use of samples and electronics alongside keyboardist James Francis, drum virtuoso Eric Harland, and bassist Linely Marthe.
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Jazz - Erschienen am 22. Februar 2019 | Edition Records
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Da er ja ein Meister des Saxofons ist, könnte er sich damit zufrieden geben, aber nein, Chris Potter beweist wieder, wie gefräßig er ist. Sein Tenor- und Sopransaxofon auf Circuits sind ihm nicht genug des Guten, deshalb greift er auch zu Klarinette, Flöte, Sampler, Gitarre, Keyboards und Perkussionsinstrumenten! Zusammen mit James Francies am Klavier und an den Keyboards, Eric Harland am Schlagzeug, und auf vier Titeln mit Linley Marthe an der Bassgitarre leitet das Kid aus Chicago vor allem ein Quartett, das sich von Groove und Interaktionen ernährt. Da gibt es nichts Geschwätziges, nur Intensives und Fruchtbares, Groove eben. Das Zusammenspiel Harland/Marthe ist in diesem Sinne umwerfend und unerschütterlich. Nach herrlichen, bei ECM erschienenen Alben hatte Potter wohl das Bedürfnis verspürt, sich wieder auf die Arbeit mit seiner früheren, funkigeren Underground-Gruppe zu besinnen. Hier vermeidet er vor allem, einem heischenden, extrem nüchternen Rhythmus in die Falle zu gehen, stattdessen setzt er auf das Wesentliche. Dasselbe gilt für sein äußerst beeindruckendes, warmes Spiel… Diese Platte gehört wohl zu seinen erquickendsten überhaupt. © Max Dembo/Qobuz
Jazz - Erschienen am 1. Januar 2007 | Universal Music Division Decca Records France
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