| Jazz |
Here is a delightful album that will please all vibraphone enthusiasts, as Warren Wolf pays homage to the great architects of the vibraphone such as Roy Ayers, Terry Gibbs, Lionel Hampton, Milt Jackson, Bobby Hutcherson, Cal Tjader, Gary Burton, Dave Samuels, and Joe Locke. When it comes to the vibraphone, there is no better authority than Wolf, whose deep study and love for the instrument permeate his work as a bandleader as well as his remarkable role as a sideman alongside jazz icons. Accompanying Wolf on this energetic album are saxophonist Tim Green, pianist Alex Brown, bassist Vicente Archer, and drummer Carroll “CV” Dashiell III.
A magnificent achievement, though we would have preferred an album of original musical creations. Indeed, there have been far too many projects of this style released in recent months, which has somewhat diverted our attention, even though this album cannot be faulted. Inspired by Anthony Smith’s book *Masters of the Vibes*, which highlights intimate conversations with legendary vibraphonists, Wolf has crafted an album that pays tribute to some of the greatest vibraphone players in history. “What I decided to do in *History of the Vibraphone* was to play pieces by some of the best players to ever hold a pair of mallets,” explains Wolf. The album begins with Terry Gibbs’ lively piece “Bopsticle Course,” in which Wolf channels Gibbs’ joyful spirit, imbued with his own sensitivity and technical finesse. The album continues with Lionel Hampton’s “Midnight Sun,” performed here with nuance and a melancholic atmosphere. “Herzog” is a composition by one of Wolf’s heroes, the legendary vibraphonist Bobby Hutcherson. Wolf states: “Bobby Hutcherson was one of my favorite people to ever play the vibraphone. He completely modernized the sound of the instrument by playing with artists like Freddy Hubbard, McCoy Tyner, Eric Dolphy, and many others. ‘Herzog’ is his original composition, and you can really hear the band take flight on this track.”
Thus, in my opinion, this is an album that is more suited to background listening than deep engagement, as where it falls short for me is in the arrangements, which are too smooth and too close to the original tracks. This is despite Warren Wolf having proven himself in the past with exceptional albums. That said, the selection of tracks on this album is smart, making one wonder if it isn’t more of a resource for music students, as Wolf’s brilliant playing and the care given to the rhythm section are prominent here.
For me, this is therefore a mixed album that failed to completely convince me despite its many qualities, which is why I categorize this album as merely a “favorite” while hoping that Warren Wolf returns quickly to original creation.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, August 26th 2024
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