Excerpt THE JAZZ FLUTE by Stefano Benini (Italy)
At the end of the 80’s, American (Manchester, CT) musician Thomas Chapin (1957-1998) was in the spotlight. These years represented one of the prominent figures of the downtown New York scene and with his recordings and concerts, Thomas Chapin left an indelible imprint in a decade rich in ferment and development of improvisational music. He made his first recording, [website editor: BELLE OF THE HEART in 1981] and SPIRITS REBELLIOUS, in 1988 and made another fifteen of them as leader: all very interesting works, projecting in experimentation, in searching, and in freedom, essential components of the New York avant garde. Chapin also has to his credit various collaborations with other musicians among which, is the album with the guitarist Michael Musillami, in the ambience of which his flute playing stands out in all its bravura. If we review Chapin’s discography, we can divide it into three periods. The first period: the previous releases prior to the trio formation, with the use of a flute idiom which was tied to tradition, with the two disks SPIRITS REBELLIOUS (1988) and RADIUS (1991). I’VE GOT YOUR NUMBER (1993) with the quintet, and YOU DON’T KNOW ME (1995), also with the quintet with Tom Harrell on trumpet. The second period – with the trio, which was more congenial for him because it provides a lot of room for invention, and because it was less tied to the traditional canon. THIRD FORCE (1991), was the first CD in the trio format, followed by ANIMA in 1992, which saw the addition of brass, INSOMNIA in 1993, followed by MENAGERIE DREAMS in 1994, and HAYWIRE in 1996, with the addition of strings, and SKY PIECE in 1998. NIGHT BIRD SONG in 1998 [website editor: LIVE! ON TOUR in 1999] and RIDE (2006) are posthumous releases. The third period: in the duo format with pianist Borah Bergman includes two disks: the first in 1992, INVERSION, and TORONTO in 1997, which was recorded live, and was the last one performed by the great musician. Two great works, but very challenging, in which searching, improvisation, and interplay base themselves in a single moment. Here are two examples of his musical language in the first period, in which, among other things, are clear references to Bobby Jaspar’s sonority.
from IL FLAUTO JAZZ (LA STORIA, I PROTAGONISTI, IL REPERTORIO, IL METODO) (The Jazz Flute: History, Protagonists, Repertory, Method), p. 53-54.
AUTHOR: STEFANO BENINI. Publishing House:
EDIZIONI CURCI
© Copyright 2010 by Edizioni Curci S.r.l. - Milano
EC 11649 (www.edizionicurci.it) Translated by Sheila Solari