Chris Foreman – Now is the Time
1. www.lahoradelblues.com - july 2015
Este álbum nos presenta a un músico que está considerado como uno de los más excitantes organistas de blues, gospel, jazz y groove. La critica especializada lo ha considerado como el heredero directo de Charles Earland, Richard ‘Groove’ Holmes, ‘Brother’ Jack McDuff, Jimmy McGriff y, por supuesto, el legendario Jimmy Smith. Ciego de nacimiento Chris Foreman ha encontrado en la música su vehiculo de expresión más natural que le he proporcionado la ayuda necesaria para superar los obstáculos de su vida. Empezó a tocar el piano a los seis años y, aunque sabia hacerlo de oído, su profesora, que también era ciega, le enseñó a leer música en braille. Hoy en día Chris es un reputado músico que ha grabado en innumerables ocasiones, tanto con The Deep Blue Organ Trio como con The Kimberly Gordon Trio. Este disco instrumental es el primero que realiza bajo su propio nombre, gracias a la oportunidad que el propietario del sello The Sirens Steven Dolins le ha brindado. Standards de jazz junto a algunos temas de su mentor Jimmy McGriff junto a una escalofriante versión de “Lonely Avenue” de Ray Charles, conforman un álbum delicioso y apasionado, repleto de jazz, blues y grooves de primera magnitud, donde Chris da rienda suelta a todo su prodigioso talento y la enorme versatilidad que es capaz de proporcionarnos. MUY BUENO.
This album introduces a musician who is now considered as one of the most exciting blues, gospel, jazz and groove organists. Specialized media considered him the direct heir of Charles Earland, Richard “Groove” Holmes, "Brother" Jack McDuff, Jimmy McGriff and, of course, legendary Jimmy Smith. Blind from birth, Chris Foreman found in music his most natural way to express, which has provided him the necessary help to overcome all the difficulties he has found all over his life. He began playing piano at the age of six and, although he knew to play by ear, his teacher, who was also blind, taught him to read music in braille. Today Chris is a talented musician who has recorded many different times, both with The Deep Blue Organ Trio as well as The Kimberly Gordon Trio. This instrumental album is the first he has done under his own name, thanks to the opportunity that Sirens Records owner Steven Dolins has given him. Jazz standards together with some songs coming from his mentor Jimmy McGriff and a thrilling version of "Lonely Avenue" by Ray Charles, make up a delicious passionate recording, filled with first class jazz, blues and grooves, where Chris gives free rein to all his prodigious talent and the enormous versatility he is able to provide. GREAT.
2. DownBeat - Frank-John Hadley - May 2015
Showing remarkable technique and copious amounts of spirit, Chris Foreman establishes himself as the rightful heir to Jimmy “King of the Blues Organists” McGriff on his first headliner album. He sweeps or staggers through tried-and-true jazz and r&b standards like a great, insurmountable force of nature. Broadening his keyboard concept, the Deep Blue Organ Trio charter member simultaneously plays B-3 and piano on Neil Hefti’s “Lil’ Darlin” and Hank Crawford’s “The Peeper.” Overdubbed piano adds to the quiet gospel sanctity of “Cotton Boy Blues,” a McGriff tune from the Groove Merchant 1970’s. Fellow Chicagoan Andy Brown on half of the tracks, shines more in self-communion with his guitar than he does complementing the organ, and alto saxophonist Diane Ellis guests on “The Peeper,” a stirring salute to McGriff and his close colleague Crawford.
3.L iving Blues - Jim DeKoster - April 2015
Native Chicagoan Chris Foreman has become a fixture at the legendary Green Mill on the city’s North Side through his long-running gig at the center of the Deep Blue Organ Trio and backing vocalist Kimberly Gordon. Though he has made recordings both, this disc is his first under his own name.
The eight-track set roars out of the gate with an unaccompanied Foreman running through much of the organ’s tonal palette on the Charlie Parker title track. He adds his own piano to the churchy rendition of Faye Adam’s Shake a Hand that follows before guitarist Andy Brown adds his crisp lines to an unusual uptempo take on Ray Charles’ Lonely Avenue, the Neal Hefti-Count Basie, big-band classis Lil’ Darlin and an I Cover the Waterfront that recalls early Jimmy Smith. Brown is also heard on the first two cuts from Foreman’s mentor Jimmy McGriff, and the set concludes with Hank Crawford’s The Peeper, featuring a searing alto solo from Diane “Lil’ Sax” Ellis.
While not strictly a “blues album”, this is most definitely a bluesy one and – like most organ jazz – should appeal to LB readers.
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