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CD Review from Jazz Now, December 1998 |
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It's not often these days that one has a chance to hear a truly gifted Jazz Flutist, which makes newcomer Nika Rejto's debut that much more welcome and impressive. She's given an enormous buildup in Dr. Herb Wong's liner notes, and, lo and behold, Bridge Weaver usually lives up to it. What sets Rejto apart? Well, for one thing, she thinks carefully about what she is doing, so her improvisations make musical sense while pleasing one's ear and enhancing his perceptions. Not that others don't do the same; but then, there are only a handful of working flutists with whom to compare her -- old hands Frank Wess, Herbie Mann, James Moody, relative youngsters Ken Peplowski, Holly Hofmann, Jane Bunnett, and a few others. The field is relatively wide open, and there appears to be ample room for another voice to be heard, especially one as well endowed as Rejto's. Although it's not yet perfectly formed, the vocabulary is solidly in place and needs only a dash of seasoning to make it thoroughly desirable. Speaking of voices, Rejto fares less well as a singer (she sings only on the closing number, a reprise of her composition "Song for Abraham"), but that's partly because the lyric is unengaging. A more conspicuous hindrance is the general slowness of tempo that impedes the session (a few more jaunty numbers such as Charles Lloyd's "Forest Flower" or Charles Mingus's "Jelly Roll," on which everyone swings, would have been most welcome). Vuckovich is a marvelous pianist. Matheny aces his two appearances (on "Jelly Roll" and Coltrane's "Naima"), and everyone else lends resolute support. A solid debut that almost demands an encore. |
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