In praise of George Mraz

[mtto]

Greorge Mraz's album "Morava" is really cool and different, a mix of Eastern European folk & jazz.

He's one of my heroes, for sure.

[jumpinin]

Originally Posted by davidAaronCarte

Zombie thread

I've been on an Art Pepper kick lately and just got my hands on the 9-disc box-set of "The Complete Vanguard Sessions"
George Cables, Elvin Jones, and George Mraz subbing in last minute for the regular guy
Hot damn does he sound phenomenal on it though
Also really digging him on Carmen McRae "Alive"

Those Village Vanguard sessions are killin'. Art at his best IMHO.

[davidAaronCarte]

Originally Posted by jumpinin

Those Village Vanguard sessions are killin'. Art at his best IMHO.

If you don't have the record Intensity, pick it up
Even better, I think

[Mark Perna]

Originally Posted by Sam Sherry

Geez, Eric, you are Johnny-on-the-Spot. What shows up today on EMusic? How about one of the all-time legendary Michael Brecker side-sessions, with George Mraz himself on double-bass (and Al Foster at the kit).

Scope Mike Nock's In Out and Around. Check out that 1978 double-bass "sound" -- and check out Mr. Brecker beginning to point toward a sea-change in his music.

I have this. It's a great album. Classic 1978 bass sound. Mraz's intonation is amazing. With that kind of bass sound, ANY blip in the intonation would have stuck out like an orange in a snowball fight. Brecker was fantastic and Nock's tunes were really great too. There were a couple of moments that reminded me of the Bill Evans Trio with Eddie around 1977-78.

mark

[hdiddy]

I got "Bottom Lines" a couple months ago. Awesome version of "Three Views of a Secret".

[MR PC]

The Jaco Pastorious piece?

[hdiddy]

yep.

[MR PC]

Beautiful tune for sure!

I'm going to check that album out!

[RickC]

My apologies for resurrecting this thread yet again, but I was just thumbing through the threads and my heart skipped a bit when I saw George Mraz. He is right near the top of my list of bassists that have moved and inspired me. I'm not all that familiar with the solo stuff mentioned in here. My first exposure was when my bass teacher gave me a copy of an early 70's Pepper Adams date, "Ephemera". George's tone and drive on that record was everything I wanted to be. The other big moment was a trip to NYC in the early 80's. We went to the Vanguard, and I was lucky enough to catch George on a trio date with Tommy Flanagan and Al Foster. The thing that really struck me that night was how melodic his pizz approach was. A heartbeat like Ray Brown and a voice like a nightingale.

Still two high water marks for me.

/rick

[Eric Swanson]

I don't think we can talk about him too much.

I have pulled out his "Jazz" album recently and have had it in my car's CD player for a week.

His note choices, his full sound in the lower register, his intonation, his workaday professionalism. He continues to inspire me.

[MR PC]

Coincidentally, I had a chance to borrow and listen to "Bottom Lines" a few weeks ago. I love George's playing and arranging sensibility, always. But I think the recording would have been better if he had played all of the solos. It's kinda "radio ready" sounding, with the slick sax playing and all. IMO.

[Eric Swanson]

I have "Bottom Lines," too. On the other hand, I really like the different solo voices.

I find the other instruments' timbres and phrasings spice things up nicely. Just another 2c...

Side note on the intonation thing, folks mentioned earlier. I heard that sometime in the mid/late '70's, a producer had Terry Plumeri, George Mraz, and Eddie Gomez do a tape of arco bass trio tunes, with the idea of making a record of arco jazz bass. Apparently, the tape never made it to vinyl because the intonation was too funky.

Hard to imagine, with those three heavies, that intonation would have been an issue. Whatever its funkiness, I still wish I could have heard that tape...