Top 30 Jazz Charts
WEEK ENDING AUGUST 6

Long gone are the days of jazz guitar being simply a vehicle for solo blowing sessions. Since Pat Metheny, six stringers are now looking for new sounds and directions, with this album providing rich ideas and wide scopes.

Guitarist Larry Corban does some miraculous work teaming with the flexible bass work of Harvie S nd the core team of James Weidman/p, Steve Williams/dr and guest tenor saxist Jerry Bergonzi for a mix of jazz standards and originals. Bergonizi’s breathy and modern tenor blows a sleek feel to a hip walking bass on “Sea Of Fire” and the team digs a deep rivulet for the bopping “On The Fly.” Most enjoyable are the unison lines of Corban with Bergonzi on the sublimely swinging and clean “Table Steaks” and the richly harmonized “Soon To Be” coaxed along by Willams’ cymbal. Harvie S does some wonderful nimble work on “You and the Night and the Music” and is lovingly romantic during “Non-Determinism,” strumming out a rich aria out front on “Never Let Me Go.” Classy and clever.

by Sylvannia Garutch

Larry Corban is an active New York guitarist who has released four previous albums, two of which are collaborations with the Aperturistic Trio (pianist James Weidman, bassist Harvie S, drummer Steve Williams). Once again, the dynamic line up is back together again on Corban’s latest recording Emergence.  The core group is augmented by tenor saxman Jerry Bergonzi, who lends his immense talents on four tunes.

Blazing from the start with “Sea of Fire” the song ignites with Harvie S’ rich driving bass line setting up the medium up-tempo swing. The Aperturistic Trio soon kicks in and the post-bop melody ensues. The trio’s swing is enveloped with warmth, it is relaxed with a big pocket. Corban and Bergonzi play the melody, which is motif based and moves through the various chordal colors. Weidman’s solo is a celebration of single note lines and colorful voicing. Bergonzi takes the reigns next, his tone is big and commands attention. His articulations are always just as exciting as his harmonic textures. Corban’s solo is a fury of notes and sweeps. Taking the triplet to double time and playing groups of sixes is a common idea he uses, to good effect.

“Table Steaks” is a relaxed swing number with a straight-ahead styled melody. After the head, Corban drives us through the chords with more speedy licks and sweeps. He is certainly on to something here, the evolution of fusion, neoclassical metal and post-bop guitar. Corban could very well be starting a new branch on the tree of jazz guitar, neoclassical post-bop guitar.  Bergonzi picks up where Corban ends and effortlessly spins out a swinging solo of style and flurries. All the while, The Aperturistic Trio is laying down the hippest swing possible. Weidman closes the solos with a joyous sound from the piano. Corban’s head is in the tradition and provides the perfect launching sounds for this amazing group of musicians.

Corban has put forth another worthy listen.  Filled with noteworthy original compositions and bodacious soloing by all.  Emergence takes Corban’s discography a step further, cementing this fine guitarist as one to continue to watch.  Highly recommended.

Larry Corban, Emergence | The Vinyl Anachronist

Seeing guitarist Larry Corban with his burgundy Gibson L-5 archtop reminds me of the first time I heard a hollow-body guitar, back when I was a teenager. A good friend of mine was an avid guitarist, and for years he played on a Gibson SG–also burgundy. When he bought a second guitar, he was set on a hollow body Gibson for its unique sound. It hadn’t occurred to me that electric guitars could sound so different, but when he brought that new guitar home on that first day he played for me, and I was struck by that unique tone with those splendid new layers of depth.

On the cover of his new album, Emergence, Larry Corban poses with his L-5. If you go back into his catalog, you’ll see many more photos of that Gibson. He holds it like he never lets go, and he plays it the same exact way. Corban’s style is swift and precise, and he knows how to extract a perfect note, full of those unique hollow-body resonances, each and every time. On Emergence he’s playing with the Aperturistic Trio–bassist Harvie S, pianist James Weidman and drummer Steve Williams–a group of guys he’s been performing with since 2013. That makes for a tight and focused set, of course, although Corban has added a new element in the form of sax player Jerry Bergonzi. That opens up the sound on an already expansive recording, and the resulting quintet really swings.

“Let’s just start ripping,” Larry Corban recalls saying during the recording sessions, “let the volcano blow!” These aren’t wild and uncontrolled performances, however, but masterful turns from very experienced musicians. Corban is fond of what he calls “32nd note triplet land,” and the other four know just what that means. They don’t follow. They walk by Corban’s side, equally responsible for these complicated dance steps, which is obvious when you realize the magic doesn’t subside when Corban rests the L-5 on his knee and lets the others solo. That’s the mark of a quiet, encouraging leader, which always translates into a multi-layered sonic treat.

What makes Larry Corban such an intriguing and accomplished guitar picker is refinement. The identity of the Gibson L-5 is used as his foundation, and his appreciation of its unique sound can’t be overstated. But I’ve heard some guitarists use hollow-bodied guitars as a license to exaggerate those sonic differences, and they lose some of their technique doing so. Corban has taken a different tack by allowing the L-5 to inspire his play and not dictate it. If you love the sound of these Gibsons, Emergence is quite a treat–a study on how to do it right through an equal partnership between musician and instrument.

1 Comment on Larry Corban, Emergence | The Vinyl Anachronist

2. Mark // July 29, 2019 at 11:32 AM // Reply

   Besides the good music, this recording throws up quite a nice, expansive soundstage, way beyond my speakers.

   https://parttimeaudiophile.com/2019/07/29/larry-corban-emergence-the-vinyl-anachronist/?fbclid=IwAR2VvstGa423TjVG45XpShLTDed7YNddvoY9z6b94gH37mp_xQIf72GRcgA

    

Top 30 Jazz Charts
WEEK ENDING JULY 23

Larry Corban – “Emergence” – Nabroc Records, Inc.

Suffice it so say that Larry Corban has worked with so many noted musicians that listing them all is not possible. All that experience has served him well as an earlier release, “Corban Nation” was ranked on four different jazz charts from #18 to #1, depending on which jazz chart was keeping score. In his fifth and most recent release, Corban sets down eight tracks of straight up, traditional jazz. And through them all, Corban is using a burgundy Gibson L-5 for all the guitar work. He is joined by the traditional jazz instruments of bass, piano, drums and saxophone.  All throughout this release, each musician takes his turn at some measure of a solo showcasing his own particular skills. While this is traditional jazz, it is also, on most tracks anyway, upbeat and in possession of a pretty good tempo. I found this to be a highly listenable work of traditional jazz and one that kept my interest – meaning I didn’t feel like I wanted to skip to the next track. Really good, this one. I’d say thumbs up.

Overall:   8

Sonics:   8

https://audiophilereview.com/audiophile-music/new-music-july.html

Seeing guitarist Larry Corban with his burgundy Gibson L-5 archtop reminds me of the first time I heard a hollow-body guitar, back when I was a teenager. A good friend of mine was an avid guitarist, and for years he played on a Gibson SG–also burgundy. When he bought a second guitar, he was set on a hollow body Gibson for its unique sound. It hadn’t occurred to me that electric guitars could sound so different, but when he brought that new guitar home on that first day he played for me, and I was struck by that unique tone with those splendid new layers of depth.

On the cover of his new album, Emergence, Larry Corban poses with his L-5. If you go back into his catalog, you’ll see many more photos of that Gibson. He holds it like he never lets go, and he plays it the same exact way. Corban’s style is swift and precise, and he knows how to extract a perfect note, full of those unique hollow-body resonances, each and every time. On Emergence he’s playing with the Aperturistic Trio–bassist Harvie S, pianist James Weidman and drummer Steve Williams–a group of guys he’s been performing with since 2013. That makes for a tight and focused set, of course, although Corban has added a new element in the form of sax player Jerry Bergonzi. That opens up the sound on an already expansive recording, and the resulting quintet really swings.

“Let’s just start ripping,” Larry Corban recalls saying during the recording sessions, “let the volcano blow!” These aren’t wild and uncontrolled performances, however, but masterful turns from very experienced musicians. Corban is fond of what he calls “32nd note triplet land,” and the other four know just what that means. They don’t follow. They walk by Corban’s side, equally responsible for these complicated dance steps, which is obvious when you realize the magic doesn’t subside when Corban rests the L-5 on his knee and lets the others solo. That’s the mark of a quiet, encouraging leader, which always translates into a multi-layered sonic treat.

What makes Larry Corban such an intriguing and accomplished guitar picker is refinement. The identity of the Gibson L-5 is used as his foundation, and his appreciation of its unique sound can’t be overstated. But I’ve heard some guitarists use hollow-bodied guitars as a license to exaggerate those sonic differences, and they lose some of their technique doing so. Corban has taken a different tack by allowing the L-5 to inspire his play and not dictate it. If you love the sound of these Gibsons, Emergence is quite a treat–a study on how to do it right through an equal partnership between musician and instrument.

Larry Corban, Emergence | The Vinyl Anachronist