Jazz Improv Review Michael Benedict THE NEW BEAT- www.mbjazzvibes.com PERSONNEL: Michael Benedict, vibraphone; Greg Speck, piano; Linda Brown, bass; Mark Foster, drums; Brian Melick, percussion. By Clive Griffin It’s always a good sign when the rhythm section lays down a toe-tapping pulse from the start. That’s just what pianist Greg Speck, bassist Linda Brown and drummer Mark Foster provide for vibraphonist on his debut album, The New Beat. The band opens with Jobim’s “Triste” and the forward-motion, pulsing groove provides the ideal platform for Benedict’s entrance and exposition of this beautiful melody. Benedict hails from the school of linear players-players who focus on playing with two mallets, such as Terry Gibbs and Milt Jackson. He takes the first solo and is very much in the mainstream with his musical vocabulary. Benedict employs a little bit of vibrato (which on vibes is of course accomplished with the motorized spinning of what might be characterized as a fan inside each resonator tube). He gets a good sound on the instrument. That good sound is developed out of his ability to pedal effectively-like the sustain pedal on a piano. While the vibraphone is itself an instrument that is bell like, with an inherently rich and pleasant sound, if a player doesn’t pedal properly, and dampen the notes effectively, the result could be a big indistinguishable group of simultaneously ringing tones. One of Benedict’s strengths is his ability to articulate each note clearly. The group follows with a spirited interpretation of another Jobim classic, “Desafinado.” Benedict is up first. He’s relaxed on this track, demonstrating that he has worked on developing his technique. He plays with a lot of energy and has a solid sense of rhythm. His improvised lines are identifiably the product of an investment of ample time and practice in understanding the deep connection between melody and corresponding harmonies. Indeed, a song like “Desafinado” is a harmonically-sophisticated piece of music-requiring more advanced understanding, in order to be able to negotiate one’s way through an improvised solo. Benedict does so effectively. There are points where it is apparent that he is in-process in terms of developing stronger connections from one phrase to the next, and in pursuit of developing more thoroughly integrated solo statements. Greg Speck contributes a noteworthy solo on piano on this track. “Eye Of The Devil” is a lovely ballad by Gary McFarland, one of the highly respected composers and arrangers in jazz, who died young in the 1970’s. Benedict offers a thoughtful interpretation of the melody and a short solo. The group delves into one of the more well known songs to emerge from the Birth OF The Cool recording, “Boplicity” by Miles Davis. The up-tempo rendition features both Benedict and Speck. Benedict’s choice of popular and well known jazz songs and standards on the The New Beat, and playing an instrument that has an inherently beautiful sound, ensured a program that is accessible to a wide audience. Combining a standard jazz trio with the lush sounds of the vibes makes this an enjoyable set. Benedict is from upstate New York and began playing vibraphone as a teenager. He graduated from the Crane School of Music at the State University College at Potsdam, NY and earned a Masters Degree in Jazz at Rutgers. He spent some time in the New York City area, playing with a variety of jazz artists. Around 1990, he relocated to upstate New York where he has taught music and performed with a host of players in the upstate area for two decades. He recently began playing the vibraphone again. I am looking forward to following his ongoing growth on the instrument and hearing future recordings. |