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Rating: In a typical New York jazz sound, in a sort of twinning between black music heroes like Charlie Parker and James Brown, "Ornettology" expresses all the aspirations and the great expressive capability of this young, immense talent.
In 1990, Ralph Peterson Junior, the jazzman, seems to have decided that it's time to recap and take a breather to not miss the train of the infernal rhythm that has marked the evolution of his music. From this momentary rest, the idea was born, among others, that fusions are perfectly feasible, provided they are driven by legitimate artistic aspirations and not just commercial purposes.
"Ornettology" is not a simple title: it is the summary of an abstract concept that begins with the name of the inventor of free jazz (Ornette Coleman) and ends with the suffix that Charlie Parker used to close the titles of some emblematic bebop pieces. Like Coleman, Peterson conceives jazz as without subordinate roles and like Parker seeks beauty in intensity.
Son and grandson of drummers, at 3 years old he was already "messing around" with drumsticks, nurtured by an undeniable musical education. Great technique, imagination, and sense of swing. A substantial musical personality and an undeniable talent for composition. The first three albums in his name, two quintets and one trio, contain classy music (even if not original). Great things with pianist Geri Allen. With "Ornettology", he is working with a basic quartet with unusual instrumentation from a post-free '60s aesthetic. The clarinet of Don Byron contributes to a refined sound with classical roots, and an intense phrasing dictated by the vibraphonist Brian Carrot contributes to the expressiveness of the mood.
Melissa Soclum on keyboards completes the band, with the good Peterson, leading it all with his "magic sticks."
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