Vince Mendoza - Start Here (1990) 320 kbps+CD Rip

01 Apr, 00:15
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Artist: Vince Mendoza
Title: Start Here
Year Of Release: 1990
Label: World Pacific[CDP 7 94592 2]
Genre: Jazz, Contemporary Jazz
Quality: FLAC (tracks + .cue,log) | MP3/320 kbps
Total Time: 56:11
Total Size: 313 MB(+3%) | 133 MB(+3%)
WebSite: Album Preview

Tracklist

1 Babe Of The Day 6:40
2 Angelicus 5:43
3 Elder Wings 6:33
4 Tough Crowd 7:45
5 Her Corner 6:06
6 Save The World 5:33
7 Page One 6:27
8 Oprah Mode 6:36
9 True Story (For Toru Takemitsu) 4:34

personnel :

Jim Beard - Piano
Mark Cohen - Piano
Peter Erskine - Drums, Executive Producer
Will Lee - Bass
Joe Lovano - Sax (Soprano), Sax (Tenor)
Vince Mendoza - Producer
Bob Mintzer - Clarinet (Bass), Sax (Soprano), Sax (Tenor)
Gary Peacock - Bass
John Scofield - Guitar
Ralph Towner - Guitar

Arranger Vince Mendoza used a wide variety of instrumentation (plus his synthesizers) on this CD, a collection of nine of his compositions. Although there are some strong individual solos (particularly from Joe Lovano on tenor and soprano and guitarists John Scofield and Ralph Towner), the mostly somber moods and forgettable themes make this CD much less interesting than one would expect. Best is "Angelicus" which has a brass choir (three French horns, bass trombone and tuba) stating the melody before it is eventually taken over by Scofield. Otherwise, this is first class mood music, as influenced by classical and light pop music as by jazz.~Scott Yanow

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Trackliste
1 Babe Of The Day 6:40
2 Angelicus 5:43
3 Elder Wings 6:33
4 Tough Crowd 7:45
5 Her Corner 6:06
6 Save The World 5:33
7 Page One 6:27
8 Oprah Mode 6:36
9 True Story (For Toru Takemitsu) 4:34
Mitwirkende
Bass – Gary Peacock (tracks: 3, 5, 8), Will Lee (tracks: 1, 2, 4, 7)
Bass Trombone – Dave Taylor* (tracks: 2, 7)
Cello – Warren Lash (tracks: 3, 5)
Clarinet, Bass Clarinet, Tenor Saxophone, Soprano Saxophone – Bob Mintzer (tracks: 1, 3, 4, 5)
Composed By, Arranged By, Conductor – Vince Mendoza
Drums, Percussion – Peter Erskine (tracks: 1 to 8)
Engineer – Malcolm Pollack
Engineer [Assistant] – Matthew Lamonica*, U.E.Nastassi*
Engineer [Synth] – Scott Gordon
French Horn – Bob Carlisle (tracks: 2, 7), Dave Jolly* (tracks: 2, 7), Jerry Peel (tracks: 2, 3, 5, 7)
Guitar – John Scofield (tracks: 1, 2, 4, 7), Ralph Towner (tracks: 3, 5, 6, 8)
Mastered By – Bernie Grundman
Performer [Electronic Valve Instrument] – Judd Miller (tracks: 7, 8)
Piano – Jim Beard (tracks: 1, 2, 4, 7), Marc Cohen (tracks: 3, 5, 8)
Producer – Vince Mendoza
Programmed By – Judd Miller
Sequenced By – Vince Mendoza
Soprano Saxophone, Alto Saxophone, Flute – Lawrence Feldman (tracks: 3, 5)
Soprano Saxophone, Tenor Saxophone – Joe Lovano (tracks: 6, 8)
Tuba – Dave Braynard (tracks: 2, 7)
Violin – Lee Kwang Bay (tracks: 3, 5)
Anmerkungen
Recorded on November 13 and 14, 1989 at Power Station, New York, NY
Digitally mixed at Skyline Studios, New York, NY
Synth recorded at Devonshire, Hollywood, California

Vince Mendoza: Start Here

John Kelman By JOHN KELMAN
December 30, 2014
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Vince Mendoza—Start HereVince Mendoza
Start Here
World Pacific
1990

In the fall of 1990, I was visiting Amsterdam for four days between business engagements in other European countries and, as usual, the first order of the day was to scope out a good music store. Luckily, there was one within walking distance of the hotel, and amongst the goodies I bought that day was Vince Mendoza's second recording as a leader, first to be released outside of Japan ... and today's Rediscovery: Start Here.

I'd already begun to encounter Mendoza's name as a composer of no small promise on albums by Peter Erskine, John Abercrombie, Gary Burton and Michael Brecker—pretty damn good credentials for a composer/arranger who was relatively fresh out of school and some experience in Los Angeles as a scorer for film and television—and so his name already bore significant weight. Start Here's lineup largely alternated between two star-studded groups: one, with John Scofield, Bob Mintzer, Jim Beard and Erskine; the other, featuring guitarist Ralph Towner, pianist Marc Cohen (soon to change his name to Marc Copland), bassist Gary Peacock and, again, Erskine. As intrigued as I was by a full album of Mendoza's music, his choice of musicians is what turned the record from curiosity to "must have."

With both ensembles, Mendoza often added a variety of instruments ranging from reeds (in addition to Mintzer, Joe Lovano and Lawrence Feldman), horns and string to synths (often played/programmed by Mendoza) and EVI (Electronic Valve Instrument, played here by Judd Miller). The ensembles were also broken down, at times, into smaller subsets as on "Save the World," where Mendoza's synth-programmed arpeggios creates a foundation over which Lovano, Towner and Erskine can layer their collective improvisational forays.

The result? An album of remarkable diversity that still speaks with Mendoza's singular voice, from the knottily buoyant and harmonically ambiguous opener, "Babe of the Day," and "Elder Wings"—which begins with Mendoza's darker- hued synths and Feldman and Peacock solos that ultimately turn more joyous for Towner's nylon-string guitar solo—to the elegiac French horn, bass trombone and tuba driven "Angelicus," still, nearly a quarter century later, one of Mendoza's most beautiful compositions.

There's plenty of solo space, but always within the context of Mendoza's information-rich writing. These are not quick heads that open up into soloing; instead, they are detailed compositions where improvisational elements are just another integrated component of Mendoza's overall approach.

Mendoza would subsequently go on to become an composer and/or arranger of choice for everyone from bassist Jimmy Haslip—a full half of whose Arc (GRP, 1993) seemed like a continuation of Start Here and its equally impressive 1991 follow-up, Instructions Inside (EMI-Manhattan), and featured one of the composer's best pieces of writing (and best Scofield solos) ever, "Orange Guitars"—Joe Zawinul and Charlie Haden to Joni Mitchell, Mary Chapin Carpenter and Björk.

But it all began with Start Here, a most impressive leader debut and one well worth revisiting and, with its multitude of musical layers, rediscovering.

So, what are your thoughts? Do you know this record, and if so, how do you feel about it?

[Note: You can read the genesis of this Rediscovery column here .]

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