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Jazz - Released February 22, 2019 | Edition Records

Hi-Res Distinctions 5 Sterne Fono Forum Klassik - 5 Sterne Fono Forum Jazz
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Jazz - Released April 21, 2017 | ECM

Hi-Res Booklet Distinctions 5 Sterne Fono Forum Jazz
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Jazz - Released February 8, 2013 | ECM

Hi-Res Booklet Distinctions 4F de Télérama
The Sirens is Chris Potter's debut as a leader for ECM but he’s no stranger to the label. He recorded as a member of Dave Holland's band, and collaborated with Paul Motian and Jason Moran on Lost in a Dream. The saxophonist’s quintet here includes pianist Craig Taborn -- a member of Potter's electric ensemble Underground -- bassist Larry Grenadier, drummer Eric Harland, and the relatively unknown David Virelles, texturing the proceedings on prepared piano, celeste, and harmonium. Creating a concept album as your first offering for a new label is a brave endeavor, but Potter rises to it. The Sirens is inspired by his re-reading of Homer's The Odyssey; he was moved by the enduring qualities of humanity in that epic, and wrote the entire album in two weeks. Potter's inherent lyricism is evident from opener "Wine Dark Sea," that offers the feel of the first romantic, tentative steps when embarking on an adventure. After a brief intro, Grenadier sets a groove articulated by Taborn, whose painterly chords offer a palette for Harland. When Potter commences the melody, that "sea" is wide open with possibility. His songlike quality is underscored by Taborn's beautiful fills and comps. Potter's tenor solo is warm, inviting, searching. "Dawn (With Her Rosy Fingers)" is introduced by Grenadier's melodic bassline and Taborn's tasteful coloration. When Potter enters, his lines become spidery, alternately inquisitive and emotionally expressive. On the title cut he plays both bass clarinet and tenor. Grenadier's bass is bowed and the sense of seductive foreboding is made plain, even as the lyric line remains mysterious and spare. The entire tune becomes a lament in revelation after the bassist's gorgeous argo solo. Potter's soprano soars in "Penelope," yet it remains, true to form, expressive of only what is necessary to communicate the music's dictates and not his considerable athleticism. The gentle sting provided by Harland and Taborn makes the tune irresistible. "Kalypso" is a taut post-bop tune with wonderful articulations from Harland, Taborn, and Grenadier locking it down even as they grow it out. The culmination of drama and sense of emotional homecoming expressed in "Stranger at the Gate" would have made it a fitting end piece -- were it not for the whispering duet between Virelles and Taborn on "The Shades" that gives the set its sense of rest and closure. Potter's vision and compositions on The Sirens never lose sight of his goal: portraying the eternal essence of humanity in the mythos of his subject; his poetic lyricism as a soloist, and his empathy as a bandleader are consummate. © Thom Jurek /TiVo
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Jazz - Released January 16, 2015 | ECM

Hi-Res Booklet Distinctions Sélection JAZZ NEWS
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Jazz - Released February 8, 2013 | ECM

Hi-Res Booklet Distinctions 4F de Télérama
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Jazz - Released January 1, 2001 | Verve

Saxophonist Chris Potter honors the legacy of some of jazz's greats on Gratitude, his debut for Verve. The award-winning virtuoso and composer is compelling on his tributes to John Coltrane, Eddie Harris, Wayne Shorter, Charlie Parker, and several other legendary saxophonists. Gratitude contains nine original compositions written by Potter, who plays tenor saxophone on the majority of the songs, switches to soprano saxophone on "Eurydice," his tribute to Wayne Shorter, and plays the alto saxophone and Chinese wood flute on "Star Eyes," the tribute to Charlie Parker. Chris Potter is outstanding on bass clarinet on his composition "The Visitor" for Lester Young and captures the ambience that reflects the many styles of these accomplished players, including sliding from one note to a higher or lower note with intermediate pitches on "The Source," his tribute to the glissandi (sheets of sound) of John Coltrane, and capturing the dense, soulful sound of Joe Henderson on "Shadow." Gratitude also includes a song titled "What's New," for the current generation which completes the set. Potter, leading his great quartet of contemporaries -- keyboardist Kevin Hayes, bassist Scott Colley, and drummer Brian Blade -- makes a significant contribution to jazz history with this project and offers musical statements and voices that are truly varied in scope and deep in their essence. © Paula Edelstein /TiVo
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Jazz - Released November 6, 2020 | Edition Records

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Jazz - Released January 1, 1996 | Concord Jazz

Backed by pianist Brad Mehldau, bassist Larry Grenadier, and drummer Billy Hart, Chris Potter delivers yet another powerful album. His playing and writing ascend another rung on the ladder of sophistication and intensity. Leaving aside his alto sax, Potter opts for tenor on most tracks, but he plays soprano on the quasi-waltz "Book of Kells" and the standard "A Kiss to Build a Dream On" (Mehldau sits out on the latter). He also employs bass clarinet on the somber "Chorale." The multiple horn overdubs with which Potter experimented on his previous Concord album, Pure, are absent here. Billy Hart is especially well-suited for the rock-like rhythm of "Nero's Fiddle," the 5/4 boogaloo of "Moving In," and the oblique funk of "Rhubarb." "The Forest" contains a harmonized passage that sounds reminiscent of Chick Corea. "South for the Winter" highlights Potter's mellower side, while "Pelog" and "Old Faithful" are solid, midtempo blowing vehicles. Concept-wise, this isn't Potter's boldest offering. But the playing is emotionally charged and technically superb. © David R. Adler /TiVo
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Jazz - Released January 1, 2002 | Universal Music Division Decca Records France

Chris Potter gets more and more adventurous. On this follow-up to the strong Gratitude, the tenor and soprano saxophonist beefs up strong writing and heady group interplay with occasional sampled sounds and miscellaneous textures like clavinet and reed organ. True to form, he plays additional wind instruments -- alto flute and bass clarinet in this case -- and isn't afraid of overdubbing them to create lush orchestration, on tracks like "Snake Oil" and "Any Moment Now." On the haunting "Invisible Man" he even doubles the alto flute melody with his singing voice. Not until the fifth track, a Meters-like adaptation of the spiritual "Children Go," do you hear a 4/4 tempo; loping lines over odd meters prevail, with pianist Kevin Hays, bassist Scott Colley, and drummer Bill Stewart expertly laying down the edgy grooves. (Like on Gratitude, Hays doubles on Fender Rhodes.) John Scofield contributes tart solos on three tracks, while Adam Rogers adds nylon-string and slide colors on two others. The sweeping, Metheny-esque harmonies of "Highway One" bring the program to a head, followed by a closing bass clarinet/piano duo on Willie Nelson's "Just as I Am." As a jazz record, Traveling Mercies is very much a product of its post-millennial times, but it still comes across as highly individual. Its value will be lasting. © David R. Adler /TiVo
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Jazz - Released May 21, 1997 | Concord Jazz

Working with drummer Jack DeJohnette, bassist Dave Holland, and guitarist John Scofield, saxophonist Chris Potter recorded his most adventurous record to date with Unspoken. Although his powerhouse rhythm section sometimes overwhelms him, Potter flexes more creative muscle throughout Unspoken, resulting in an engaging, frequently provocative listen. © Leo Stanley /TiVo
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Jazz - Released June 6, 2011 | Criss Cross Jazz

Many people in the jazz world associate trumpeter Alex Sipiagin with the Charles Mingus ghost band, but the albums he has recorded under his own name haven't been especially Mingus-minded, and that is true of Destinations Unknown, which finds the Russian trumpeter leading a sextet that includes Chris Potter on tenor sax, David Binney on alto sax, Craig Taborn on acoustic piano and electric keyboards, Boris Kozlov on upright bass, and Eric Harland on drums. Any album that features Potter extensively is usually worth hearing, and this 2011 recording is no exception. Sipiagin gives Potter plenty of solo space, which is a definite plus; Sipiagin was lucky to have Potter as a sideman. But Binney is an equally valuable contributor to Destinations Unknown, and Sipiagin skillfully oversees a three-horn front line (trumpet and two saxophones) on a session that spotlights original compositions and doesn't contain any standards at all. The post-bop material tends to be on the cerebral side; that is true of "Tempest in the Tea Cup" and "Videlles," as well as "Fast Forward," "Calming," "Next Stop: Tsukiji," and "Fermata Scondola." But like a lot of jazz albums that thrive on complexity and intellect, Destinations Unknown reveals more and more of its charms with each listen. It should be noted that Sipiagin employs both acoustic and electric instruments on this album; the trumpeter isn't shy about letting Taborn solo on electric keyboards as well as acoustic piano. And yet, this release doesn't really venture into fusion territory; despite Taborn's presence on electric keyboards at times, Destinations Unknown is essentially a post-bop album rather than a fusion album. It is also a skillful demonstration of what Sipiagin has to offer as a trumpeter, composer, and group leader. © Alex Henderson /TiVo
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Jazz - Released October 2, 2020 | Edition Records

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Contemporary Jazz - Released April 5, 2001 | Storyville Records

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Jazz - Released January 1, 1997 | Concord Records

Working with drummer Jack DeJohnette, bassist Dave Holland, and guitarist John Scofield, saxophonist Chris Potter recorded his most adventurous record to date with Unspoken. Although his powerhouse rhythm section sometimes overwhelms him, Potter flexes more creative muscle throughout Unspoken, resulting in an engaging, frequently provocative listen. © Leo Stanley /TiVo
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Jazz - Released April 21, 2017 | ECM

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Pop - Released June 5, 1998 | Winter and Winter

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Jazz - Released December 4, 2020 | Edition Records

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Electronic - Released January 11, 2019 | Edition Records

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Electronic - Released February 1, 2019 | Edition Records

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Chris Potter in the magazine