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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 February 8, 2013 | ECM

Hi-Res Booklet Distinctions 4F de Télérama - Hi-Res Audio
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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 January 16, 2015 | ECM

Hi-Res Booklet Distinctions Sélection JAZZ NEWS
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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
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Jazz - Released December 18, 2015 | ECM

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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
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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
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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
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Jazz - Released April 21, 2017 | ECM

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Jazz - Released January 1, 1997 | Concord Records

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Electronic/Dance - Released February 1, 2019 | Edition Records

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Electronic/Dance - Released January 11, 2019 | Edition Records

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Pop - Released June 5, 1998 | Winter and Winter

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Contemporary Jazz - Released April 5, 2001 | Storyville Records

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Chris Potter in the magazine