Eternal Journey

Eternal Journey

by Sean Jones


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When it comes to the Young Lions -- that is, retro improvisers whose straight-ahead hard bop and post-bop are a throwback to the '50s and '60s -- there are two equally absurd viewpoints in the jazz world. The Stanley Crouch/Wynton Marsalis crowd sees them as musical saviors who are rescuing jazz from the "evils and horrors" of fusion, avant-garde jazz, and jazz-funk; at the opposite extreme are avant-gardists who insist that the Young Lions are putting the nail in jazz's creative coffin. But truth be told, the Young Lions will be neither jazz' salvation nor its downfall. Innovators and traditionalists both have their place in jazz, and when it comes to trumpet playing, there is room for a risk-taking explorer like Dave Douglas, as well as a more traditional Young Lion such as Sean Jones. Eternal Journey, Jones' first album as a leader, finds the trumpeter drawing on the influence of Freddie Hubbard, Lee Morgan, Clifford Brown, Woody Shaw, and other big-toned icons -- Jones definitely appreciates the trumpeters with the big, fat, full-bodied tones, although there are also hints of the softer, more economical Miles Davis in some of his playing. Jones is no innovator; the Ohio native was born in the late '70s, but stylistically, he sounds like he just stepped out of the '50s or '60s. This hard bop/post-bop disc not only underscores Jones' talents as a soloist, but also as a composer; he wrote half of the material himself, and his writing is certainly respectable on tunes that range from the driving "At the Last Minute" to the reflective ballad "John." When it comes to interpreting popular music, Jones tends to over-emphasize Tin Pan Alley warhorses that have been beaten to death over the years. But all things considered, Eternal Journey is a promising and enjoyably solid, if derivative, debut for the Young Lion.

Product Details

Release Date: 05/18/2004
Label: Mack Avenue
UPC: 0673203101623
catalogNumber: 31016
Rank: 100552

Album Credits

Performance Credits

Sean Jones   Primary Artist,Trumpet
Charles Fambrough   Bass
Ralph Peterson   Drums
Mulgrew Miller   Piano
Orrin Evans   Piano
Tia Fuller   Flute,Saxophone

Technical Credits

Ray Noble   Composer
Harold Arlen   Composer
Billie Holiday   Composer
E.Y. "Yip" Harburg   Composer
Arthur Herzog   Composer
Pryor   Producer
Harry Warren   Composer
Scott Yanow   Liner Notes
Joseph Young   Composer
Mort Dixon   Composer
Sean Jones   Arranger,Composer
Gretchen Carhartt   Liner Notes,Executive Producer
Tia Fuller   Composer

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Eternal Journey 5 out of 5 based on 0 ratings. 1 reviews.
Guest More than 1 year ago
The sound of the trumpet has a dynamic range and contrast. For a bite, one might try Miles Davis or Dizzy Gillespie. For a dark sound, we can always find a mono recording of the great Clifford Brown. However, one sonic signature of the trumpet that is hard to locate in jazz hierarchy would be mellow and soft. Many flood at any musician that can emulate this rare sound. It’s a scarce tone that builds another platform in the sound tapestry of jazz music. It’s new; and new is good in jazz. I’m sure Miles or Coltrane would have concurred. The soft sound is found in two ‘young lions’: Roy Hargrove and Sean Jones. For them, the music texture (with songs anywhere from Greens At The Chicken Shack to Somewhere Over The Rainbow) is always soft; lyrical, warm, and ethereal. Listening to them is a lesson in the peace of the pace, the calm of the colors, the embodiment of the eternal. It’s a slower-paced swing that very few have heard before. In this album, the debut from Sean Jones, the title has a lot to do with the sound of the production. This album has an eternal, ethereal, and enlightened tone to it. It’s has the bounce of any Joshua Redman or McCoy Tyner album, but a soft tone that relaxes the mind and soul like a Mahler symphony. Simply stated, this album is mellow and swinging. I would recommend this album to ANY fans of Roy Hargrove, bar none! It’s a soft tone that was prevalent in the 1960’s recordings of Jim Hall, Paul Desmond, and the Miles Davis/Gil Evans sessions (Sketches of Spain). It’s a new Kind of Blue, but a bit slower and more harmonic. Bill Evan’s fans will enjoy the harmonic seascape Mr. Jones puts down. I recommend this album hands down. As a fan who saw him play late nights at jazz clubs in the Youngstown area, I see he still doesn’t cease to amaze me. Take a listen and discover the cool meets the calm meets to colorations meets the compositions.