David Gilmore | Numerology - Live at Jazz Standard

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Numerology - Live at Jazz Standard

by David Gilmore

Guitarist David Gilmore invites the listener to explore the mystical, divine, and spiritual meaning of numbers through sound and vibration. Featuring - Miguel Zenon, Claudia Acuna, Christian McBride, Jeff "Tain" Watts, Luis Perdomo and Mino CInelu.
Genre: Jazz: Progressive Jazz
Release Date: 

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1. Zero to Three: Expansion (Live)
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5:14 $0.99
2. Four: Formation (Live)
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6:50 $0.99
3. Five: Change (Live)
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6:53 $0.99
4. Six: Balance (Live)
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7:53 $0.99
5. Seven: Rest (Live)
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12:39 $0.99
6. Eight: Manifestation (Live)
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3:58 $0.99
7. Nine: Dispersion (Live)
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12:56 $0.99
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ABOUT THIS ALBUM


Album Notes
Guitarist/Composer David Gilmore releases Numerology - Live at Jazz Standard, featuring David Gilmore with Claudia Acuña, Miguel Zenón, Luis Perdomo, Christian McBride, Jeff “Tain” Watts & Mino Cinelu.

Numerology Suite is a musical exploration into the mystical, divine, and spiritual meaning of numbers, which reflect the creation of the Universe and the underlying structure upon which the material world is built. Music is the language of the Universe, and the elements of music - harmony, melody and rhythm, are all expressions of number. Pythagoras, the father of mathematics, taught that the numbers one through nine represent the universal principles and progressive cycles in life. Here, David Gilmore invites the listener on a musical journey as he interprets these nine musical cycles through sound and vibration:

One-Two-Three: Expansion Four: Formation
Five: Change Six: Balance
Seven: Rest Eight: Manifestation Nine: Dispersion

“The Eternal generates the One. The One generates the Two. The Two generates the Three.
The Three generates all things”- Lao-Tzu


About David Gilmore:
David Gilmore has recorded and performed with many of today’s most influential modern artists. He has worked with Wayne Shorter (appearing on Mr. Shorter’s Grammy Award winning album, High Life (Verve), Dave Douglas, Rudresh Mahanthappa, Esperanza Spaulding, Christian McBride, Muhal Richard Abrams, Sam Rivers, Steve Coleman, Cassandra Wilson, Don Byron, Uri Caine, Randy Brecker, David Sanborn, Lenny White, Cindy Blackman-Santana, among many others.

In addition to his significant presence on the international touring scene, Gilmore has also appeared on over 70 recordings, including two of his own as a leader. His first CD, Ritualism (2001) received international critical praise and was nominated for the 2001 Debut CD of the Year by the Jazz Journalists Association.

Born in Cambridge, Massachusetts, Gilmore studied piano, drums and percussion, taking up guitar studies at fifteen with John Baboian and Randy Roos. He left Boston for further studies at New York University where his teachers included sax titan Joe Lovano and pianist Jim McNeely. Following graduation, he worked with a variety of artists, including members of the M-base Collective, Ronald Shannon Jackson, Trilok Gurtu, Graham Haynes, Robin Eubanks, and Lonnie Plaxico. He also joined the popular jazz/fusion group Lost Tribe, and co-produced their first two recordings for Windham Hill.

Gilmore has even made notable contributions to pop artists like multi-platinum singer Joss Stone, Me’shell N’degeocello, Monday Michiru, and Mavis Staples. He’s performed onstage at the Grammy’s, the Live 8 London Concert, Carnegie Hall, Radio City Music Hall, Lincoln Center, London Royal Festival Hall, and most of the major jazz and pop festivals around the world. Down Beat Magazine’s Critic’s Poll has voted Gilmore a ‘Rising Star’.

Gilmore’s playing has been compared to guitarists as diverse as George Benson, Wes Montgomery, Jimi Hendrix and Leo Nocentelli. He is committed to an improvisational approach that reflects a global awareness. One result of this global ethic, the work "African Continuum" –enabled by a Chamber Music America (CMA) New Works Composer Grant– was premiered to the public in Spring 2003.

More recently, David was the recipient of a second CMA New Works Composer grant of which Numerology - Live at Jazz Standard was borne out of, and a French/American Cultural Exchange Grant (FACE), collaborating with the great French pianist and composer Andy Emler, bassist Francois Moutin, and David’s brother, live Drum n’ Bass pioneer Marque Gilmore on drums.


Reviews


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hanyi ishtouk

fresh modern jazz suite
It's not too often that David Gilmore (no relation to the British quasi-namesake of P. Floyd fame) comes out with a record of his own, every sixth year to be precise, but when he does discerning listeners would better sit up and prick up their ears. It's no different this time, either, his third release being a stunningly compelling document of the bandleader guitarist evolvement as a composer.
The organically unfolding and morphing melodic and rhythmic patterns/crossreferences of this complex yet instantly accessible material, which was recorded at two sessions in front of a live audience in January, 2010, is delivered in a taut and spirited fashion by a cohesive jazz septet featuring, instead of the customary horn section, added percussion (Mino Cinelu) and a rather sporadic wordless vocal courtesy of the Chilean Claudia Acuna.

"Borne out of his second Chamber Music America New Works Composer Grant, Numerology Suite is a musical exploration into the mystical, divine, and spiritual meaning of numbers, which reflect the creation of the Universe and the underlying structure upon which material world is built," we learn at Gilmore's website.

The opener 'expansion' of the first movement (#1-4) comes into being with the entry of vocal - alto sax (Miguel Zenon) unison, and further dialogue w/ the single note licks of the guitar; while 'formation' offers an intricate melody and the Puerto Rican saxist's tastefully phrased, fiery solo. The virtuosic Venezuelan pianist Luis Perdomo is given some extended showtime, followed by the bandleader's arpeggiated, edgy take on #3 'change'. The agitated and percussion-heavy #4 'balance' has a Middle Eastern/Indian theme being further elaborated in Zenon's alto whirls and a somewhat raw, hat tip to Hendrix maybe, guitar improv, the overall tone of which reminds me that of Gilmore's recent collaboration w/ the Indo-American altoist Rudresh Mahanthappa on "Samdhi" (2011, ACT).

The more than 12-minute-long starting piece called 'rest' of the second movement (#5-7) emerges w/ a meditative solo guitar where harmonies are suggested rather than expressedly stated through a brief modal exploration being conjoined by Acuna's vocalese for the first three minutes, when the band enters. The lyrically reflective mood brightens up and shifts gears for the second half, transforming into a vibrant jazz-funk vehicle driven by contrapunctally pulsating rhythm and ostinato piano motif shifting through keys while the melody is being played around, with enthralling solos launched by Zenon, Gilmore and Perdomo, respectively, only to be concluded by the fat bass notes of Christian McBride in a compact improv, who - in tandem w/ drum powerhouse Jeff 'Tain' Watts - is no stranger to the guitarist's musical ideas/concepts, both of them having contributed to Gilmore's second album "Unified Presence" (2006, Kashka).
The dynamic bridge of the impatient #6 'manifestation' turns out to be a curious blend of (West) African percussionated rhythm guitar and Indian-tinged head bolstered by some dark modern starkness, leading over to the almost 13-minute-long, upbeat closer #7 'dispersion' with a Brazilian bop flair that includes - among other elements - an integrated percussion exchange before the entire composition links up w/ the formless beginning, thereby creating a cyclic effect. Total time: 56.23 min. Most assuredly recommended!