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Randy Weston's "Zep Tepi"


jazzbo

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Wow. I'm really enjoying the new release from Randy Weston, "Zep Tepi". . . .It's a return to trio format, with the incredible Alex Blake and the awesome Neil Clarke, longtime collaborators. . . .

And the tunelist reads like a "Randy Weson's Greatest Hits"!

If you are a Randy fan and like the stuff he's done with Alex and Neil (and others in their roles) over the last decade or so. . . this one's for you.

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  • 2 weeks later...

Saw this group on Saturday night at the Bakery. Damn fine show! For the second set i was seated in the front row, directly in front of Randy Weston. I have to say, as much of a fan I am of his work, it was Alex Blake who stole the show imo. What a workout on the bass! He was all over it, plucking it, bowing it, tapping on it with his fingers, rapping on it with his knuckles, all the while scatting/singing to his playing. Really fun time as the audience was really into it. Met Randy briefly after the show and had him sign one of the Mosaic Select discs. He had a good laugh at the old photo of him. Seems like a very nice guy. :tup

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Here's Don Heckman's review from the LA Times. I know some of you objected to his review of the ICP, but this one he definitely got right...

Randy Weston goes on an African exploration

By Don Heckman

Special to The Times

May 11, 2006

PIANIST Randy Weston has spent a considerable amount of time in Africa, living in different areas and operating his own club for a few years in Morocco. Halfway through his opening set Tuesday at the Jazz Bakery, he took a few moments to describe the importance of music to African culture, underscoring his belief in its life-affirming qualities.

By that time, his conviction had already been amply demonstrated by his appropriately named African Rhythm Trio. Playing with a deep, passionate involvement in the music, the ensemble — Weston, bassist Alex Blake and percussionist Neil Clarke — brought a rare, visceral combination of life and spirit to the Bakery stage.

Weston, who stands 6 feet 8 inches, was a powerful presence at the keyboard, his large hands commanding huge note clusters, his percussive attack generating turbulent waves of energy. The Panamanian-born Blake, seated on a stool and wielding his acoustic bass like an oversized guitar, and the veteran Clarke, employing an array of percussive devices, added their own impressive contributions.

Weston was the music's lightning rod for a program reaching from his "African Sunrise" (written for Dizzy Gillespie) and "African Cookbook" to the early hit "Hi-Fly." Beginning many pieces with rhapsodic piano introductions, he opened the path for the others to join him in a series of musical journeys notable for their extraordinary combination of symbiotically engaged ensemble passages and often astonishing solo work.

Blake's remarkable soloing on "African Sunrise" employed every imaginable aspect of his instrument. Tapping on the wood, strumming, sliding his fingers up and down the strings, scatting along with his bass lines (sometimes in harmony), he displayed incredible virtuosity combined with inventive musicality in a fashion that was stunningly entertaining. Clarke, playing subtle layers of colorful rhythms, was a perfect musical companion.

At the heart of it all, Weston — at 80 still as vital as ever — gave the music its engaging vigor. No wonder Langston Hughes once described Weston's playing as "a combination of strength and gentleness … in an ebb and flow of sound seemingly as natural as the waves of the sea."

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