{"id":4338,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/terence-blanchard-bounce\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"terence-blanchard-bounce","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=4338","title":{"rendered":"Terence Blanchard &#8211; Bounce"},"content":{"rendered":"<p><img loading=\"lazy\" decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/bounce.jpg\" width=\"120\" height=\"120\" alt=\"Terence Blanchard\" align=\"left\" border=\"1\"\/><font size=\"3\" color=\"Blue\" face=\"Verdana\" style=\"font-face:verdana; font-size:16px\"><strong>Terence Blanchard<\/strong><\/font><br \/><font size=\"4\" style=\"font-face:verdana; font-size:18px\" color=\"Blue\" face=\"Verdana, Helvetica\">  <strong>Bounce<\/strong><\/font><br \/><font face=\"Verdana, Helvetica\" color=\"#000000\" size=\"1\" style=\"font-face:verdana; font-size:11px\">(Blue Note &#8211; 2003)<br \/> by John Thompson<\/p>\n<p><\/font>  <font size=\"2\" style=\"font-face:verdana; font-size:13px\" face=\"Verdana, Helvetica\" color=\"#000000\">  <i>Question.<\/i> What do you get when you mix the sounds of Africa, Brazil, and America with the styles of Swing, Hard Bop, Free Form, Groove, Early 70&#8217;s Fusion and the New Millennium? A CD called &#8220;Bounce&#8221; by an artist named Terence Blanchard. Is this the guy who plays trumpet? The dude who played with Lionel Hampton and Art Blakey&#8217;s Jazz Messengers after Wynton Marsalis left the group? The same man who wrote music scores for films such as Spike Lee&#8217;s &#8220;Jungle Fever, Get On The Bus, 4 Little Girls, Barbershop,&#8221; and the highly acclaimed &#8220;Malcolm X&#8221;? Is this the guy that released the CD called Bounce? Yes, Yes, Yes and uh, Yes. <\/p>\n<p>  A former &#8220;Young Lion,&#8221; Blanchard has been associated with the post-bop style, playing in traditional Bop settings. Here, he deviates from the norm, displaying an array of musical knowledge and abilities that make this CD one of the best that I have heard in a while. As proof of what&#8217;s musically assembled, check out the band members. Let me tell you what we&#8217;ve got. <\/p>\n<p>  We&#8217;ve got a very diverse music journey, with some unexpected instruments, and nine tunes in all. We&#8217;ve got a bad ass, Terence Blanchard, playing the trumpet, seeing eye to eye with other bad asses in Eric Harland (D) providing styles from sensitive to gorilla-gladiator-gangster, Eric Winston (TS, SS), Robert Glasper (HB3,FR), Aaron Parks(P), and Brandon Owens (B). Last but not least, we&#8217;ve got a guy, Lionel Loueke on guitar and vocals. Each tune is has different and special feels, which will keep the listener tuned in.<\/p>\n<p>  All of the music is top-notch. We&#8217;ve got track 3, &#8220;Fred Brown,&#8221; featuring the electronic Fender Rhodes piano, which help to give a Weather Report (group) sound. We&#8217;ve got a rhythm challenge, my favorite,&#8221;On the Verge,&#8221; Brazilian flavor on &#8220;Passionate Courage&#8221;, and &#8220;Nocturna,&#8221; a trip towards Africa featuring the vocal talents of Loueke on &#8220;Azania.&#8221;  We&#8217;ve got Groove on Wayne Shorter&#8217;s &#8220;Footprints,&#8221; and Eric Harland tearing new holes on my second favorite, &#8220;Transform.&#8221;   <\/p>\n<p>  In short (ha ha) we&#8217;ve got a hell of a lot. There is a lot that I left out too. Did I mention the recording quality and the awesome sound of Blanchard&#8217;s horn? Let me tell you, we&#8217;ve got a five star CD.    <br \/><\/font>              <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Terence Blanchard Bounce(Blue Note &#8211; 2003) by John Thompson Question.<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-4338","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4338","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=4338"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/4338\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=4338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=4338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=4338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}