Eric Erhardt – A Better Fate
Another debut recording, as leader, for composer and woodwind player (tenor sax, flute, clarinet) Eric Earhardt. This is more complex with varied combinations of instruments (trumpet/flugelhorn, soprano sax/oboe, guitar and rhythm section) and many different pulses, but all blending most effectively to create a direct and immediate appeal. Reviewed by Peter Bevan, Northern Echo. (August 16, 2012)
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Although Eric Erhardt (tenor saxophone, clarinet, flute) is a new name to me, his career spans 2 decades and ranges from playing in the pit bands of touring Broadway shows to the Artie Shaw Orchestra to the Eastman Wind Ensemble. “A Better Fate” (Tapestry Records) is his debut as a leader; he’s assembled a top-notch band which includes Russ Johnson (trumpet, flugelhorn), Sebastian Noelle (electric guitar), Linda Oh (acoustic bass), Mike Davis (drums), Nick Paul (piano) and James Shipp (percussion) plus Dan Willis (soprano saxophone, oboe) on 2 of the 8 tracks. Looking at the lineup, one realizes this music has a fighting chance of being quite good. And, it certainly is. Erhardt wrote and arranged all the pieces, creating pieces that seem to move outward from the opening notes. Davis truly can drive a band, works well with Shipp’s percussion arsenal and still leaves plenty of sonic space for Ms. Oh’s fundamentally strong bass work. Listen to them firing on all cylinders as the band flies through “Ten Years”, rising out over Noelle’s hard-edged guitar work. And, the rhythm section can also be subtle – on “Not Like Before”, Shipp’s insistent triangle alongside Davis’s strong brushwork leads the piece in. Erhardt’s forceful yet musical clarinet solo is impressive giving way to the rich flugelhorn spot (Paul, who is a member of vocalist Nicky Schrire’s fine band, shines in his chordal support.) Noelle enters over a modified reggae beat, his intense lines pushing against the softer piano chords. “Powwow Now”, based on a melody from a Navajo corn-grinding songs, commences with insistently repeated piano chord behind Ms. Oh’s melodic solo. The blend of oboe, soprano sax, tenor, piano and guitar creates a swirling melody out of which the fine solos arise. After a rubato opening with tenor and trumpet dancing around each other over snappy percussion, the title track features a Latin rhythm with a melody for trumpet, tenor and Noelle’s rippling guitar. The arrangement behind the melody and solos offers pleasing counterpoint. Listen to how the Paul’s lines complement the active bass lines as well as the percussionist’s exciting stew. In his liner notes, Eric Erhardt gives credit fellow saxophonists Dave Liebman, Felipe Salles and Dan Willis for helping to make these compositions and arrangements “stronger.” Their input certainly pushed Erhardt in the right direction because this music is intelligent, exciting and richly melodic. Reviewed by, Richard B. Kamins, StepTempest.blogspot.com(July 21, 2012)
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Erhardt’s debut CD has been a long time coming, but it was worth the wait. The veteran saxophonist, clarinetist, and flutist has played with many small ensembles and big bands during his over 20-year career, as well as backing theatrical productions and pop artists. He has also taught music both privately and in public schools. Originally from Philadelphia, but now residing in Boulder, CO., Erhardt brought into a New Jersey recording studio an inspired group of New York-based musicians to perform his well-crafted, challenging, and stimulating compositions and arrangements. Erhardt credits his co-producers Felipe Salles and Dan Willis, and one of his teachers, Dave Liebman, with providing valuable input and feedback for this project. Joining Erhardt on A Better Fate are Russ Johnson on trumpet and flugelhorn, Sebastian Noelle on guitar, Nick Paul on piano, Linda Oh on bass, Mike Davis on drums, James Shipp on percussion, and Willis on two tracks playing soprano or oboe. Baião and Maracatu rhythms enliven the absorbing “Little Rittle,” which for the bridge Erhardt borrowed from Joe Henderson’s “Inner Urge.” Erhardt’s propulsive tenor solo reveals his individual sound and creativity. Noelle’s insistent guitar solo is in contrast to pianist Paul’s more pensive one. Both the initial theme reading and the reprise, with Noelle’s lines weaving in and out of Erhardt and trumpeter Johnson’s unison motifs, are bracing and captivating. On “Ambivalence,” Erhardt’s clarinet and Johnson’s trumpet blend with complementary flair for the soundly constructed, variegated theme. The improvisations by Paul, Johnson, Erhardt, and bassist Oh explore the essentials of the tune with deep understanding and focused clarity. The title piece, “A Better Fate,” is influenced in part by Pat Metheny’s “Third Wind.” The churning, tense opening leads to a compelling tenor/trumpet theme exposition that is bolstered by Oh’s superlative commentary. Erhardt, Noelle, and Johnson develop successive solos that are slashing and unrelenting.The alluring main melody of “Powwow Now” is derived from a Navajo corn-grinding song, and is enhanced by a persistent piano ostinato. Erhardt patiently and confidently builds his tenor solo to a booting climax, while Willis’s soprano wails heatedly during his turn. Noelle’s glistening and hearty improv, comparable to Metheny or Mike Stern at their most expressive, precedes the revisit of the fresh and very likable theme. A guitar and bass ostinato frames “Ten Years,” with Erhardt and Johnson sharing the robust head. Noelle impresses again with a solo of soaring emotion, and the trumpeter’s passionate improv extends the prevailing intense atmosphere. Paul’s exploration emphasizes the modal nature of the tune, as does Erhardt’s searching tenor statement. The theme is breathtaking in its return, as the harmonies and textures can be even better appreciated now that the journey is being persuasively completed. “Dance Afar” features just Erhardt’s tenor with the rhythm section. The intriguing ballad is made more so by Oh’s lucid, never-flagging solo, Paul’s sparse but distinctive comping and soloing, and Davis’s receptive drum work Erhardt’s own solo in the cleanup spot is mature, polished, and most importantly, moving. This quartet performance is both intimate and inviting. ”Not Like Before” is derived from the old warhorse “Just Friends,” and is given an arrangement based on the big band writing of Kenny Wheeler. Erhardt’s appealingly woody clarinet plays the undulating melody with spiky accompaniment by Johnson, Paul, and Oh. The work then takes on a somewhat more languid tone, with streamlined clarinet/trumpet unison passages leading to transfixing solos by Erhardt and Johnson’s flugelhorn. A new, unexpected variation then changes the mood entirely, giving way to Noelle’s engaging rumination. Then we are brought full circle to the beginning of this fascinating, most ambitious arrangement. The intricate, through-composed head of “Tyler Park” is unfolded by Erhardt’s tenor and Willis’s soprano, with the vigorous support of Paul, Oh, and Davis. Willis shines with a solo that displays great technical agility while still remaining fully communicative. Erhardt and Paul succeed him with solos of equal eloquence. The leader and Willis then replay the theme in animated style, both before and after a forceful outing by percussionist Shipp. Just like the others on this rewarding CD, this concluding arrangement never stops giving in its abundant generosity of spirit. Reviewed by, Scott Albin, JazzTimes.com. (July 4th, 2012)
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The multi-faceted Eric Erhardt arrives with a harmonious palette of eight flavorful and astute originals pushes the envelope of his voicing’s on what is described as “acoustic fusion” on his debut album A Better Fate. Based in the Mile High City (Denver), Eric was mentored by the legendary sax giant Dave Liebman. Erhardt a veteran in his own right is a notable band leader who wrote and arranged all compositions on this recording. This elegant tapestry consists of a blanket stitched and colored with the fibers of Brazilian, Afro-Cuban, rock and 20th century classic. “Liddle Rittle” begins this expansive journey with a multitude of percussive beats anchored to a chorus of captivating horns and complex rhythms rumble powerfully through the lively voice of this exceptional ensemble. As music enthusiast we tend to look for balance, it seems we’re often satisfied with a scoop of fresh, complex and mind-altering melodies. With “Ambivalence” Erhardt gives us a distinct yet colorful measure of what we expect. While maintaining a firm grip, the ensemble cranks it up a notch with the splendid fervor of “A Better Fate.” The intriguing pulse of “Powwow Now” is totally addictive. Rhythmically and structurally Erhardt’s penmanship stretches the imagination beyond the limits with another texturally impulsive masterpiece. As the music builds, the ensembles determined interplay augments and permeates irresistibly with a flurry of exuberant rhythms and brisk textures define this admirable arrangement without missing a beat. Midway, “Ten Years” appears to explode with glowing and passionate orchestrations. Their euphonious dexterity transcends to burst into foray of entrancing artistry and interplay by this amazingly snug ensemble deserves wider recognition. At the sixth, the charming resonance of “Dance Afar” is yet another poignant composition born from the spirit of Erhardt’s opus of ambitious lyricism unveiled. I’m fascinated by the agility of this affluent and charismatic ensemble. They flawlessly adapt to each piece with immeasurable fortitude as musicians. The Philly native pen “Not Like Before,” Erhardt admirably speaks the language of jazz with varied intricate phrasings sliced with significant cutting edge tones and bending these notes to singularly create a memorable and definitive atmosphere for listeners to adsorb. Even though “A Better Fate” is not a large canvas of songs, Erhardt fiercely scored a unique framework of music rooted in the thread of traditional jazz. In return, with over two-decades of experience Erhardt ingeniously re-voiced these prerequisites to create an all-encompassing body of modern jazz to give us the vivacious “Tyler Park” which is among many prominent songs on this album winds down this incredible collection of jazz deployed by the gifted, talented and extraordinary voice of Eric Erhardt. Reviewed by, Rob Young, UrbanFlexMedia.com. (May 29th, 2012)
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A Better Fate adds a new twist to a slightly eclectic sub genre branch of the jazz family tree. Acoustic fusion played by some of the finest young talent that New York has to offer and at an incredibly high level of proficiency. There is a subtle complexity here as the often organically based set seem to flow through the listener, not around them. For nearly two decades Erhardt has worked as a jazz mercenary, a hired gun on saxophone, clarinet and flute and while I rarely put a tremendous amount of stock in the necessity of paying dues in most cases, clearly Erhardt is a cultural byproduct of his own experience. Erhardt’s study and self exploration has led to some of the most original and compelling music of our day. Personal, a sonic exploratory and with an unbelievable polish we find Erhardt making a bold statement that will no doubt be turning some heads in short order. Erhardt seems to relish working without a harmonic net while effortless shifting dynamics on the fly. There is a distinct harmonic influence drawn from modern jazz while sonic side roads taken include Brazilian, Afro-Cuban, rock oriented rhythms and the minimalist approach of a contemporary classical composer. “Liddle Rittle” has a delightful bass opening from Linda Oh and while embracing the more acoustic fusion side of the musical equation one can not help but become engaged in the complexity of shifting harmonics and odd but not inaccessible meter. One of the more evocative tunes on the release. “Ten Years” is another gem from “A Better Fate.” With the polish and tenacity of a small jazz orchestra, Erhardt pushes the ensemble with a syncopated pop of bright forward motion. Jazz with a distinct lyrical purpose and direction. “Ten Years” has the ensemble dialed back slightly into a more ballad oriented tune with one foot squarey embracing the tradition of the past and the other foot seeking out firm footing for what may be just around the corner. Again, harmonic changes combined with artful dynamics place what is referred to as acoustic fusion in a genre all it’s own. Tired of commercial jazz? Looking for something more straight ahead but with a high level of musicianship that can embrace a more organic presentation? A Better Fate is a winner on all most every conceivable level! Reviewed by, Brent Black, CriticalJazz.com. (May 26, 2012)
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A Better Fate is the debut album from veteran woodwind artist Eric Erhardt, who recorded it in July of 2010 at Bennett Studios in Englewood, New Jersey, and it was released by Tapestry Records on Mar. 20, 2012. It is an album that is the fulfillment of two decades of Erhardt touring as a hired gun playing the saxophone, clarinet and flute. Many of the arrangements on the album were penned by Erhardt either while on a bus or in a hotel room between performances around the world. On A Better Fate, Erhardt is joined by co-producer and oboe player Dan Willis, Russ Johnson on the trumpet, Sebastian Noelle on the guitar, Nick Paul on the piano, Linda Oh on bass, Mike Davis on drums and James Shipp on auxiliary percussion. With all of these instruments on one album, A Better Fate’s sound can be described as a fusion of the Brazilian, Afro-Cuban, rock, minimalist and classical musical genres. The opening track, titled “Liddle Rittle,” has auxiliary percussion from Shipp and rhythmic drumming from Davis in its intro. Then, Erhardt’s melodious saxophone and Paul’s soft piano playing chime in. These four instruments flow seamlessly together causing a smooth classical vibe until Johnson’s trumpet enters. Then the pace of the song kicks into high gear as does Shipp’s percussion and Davis’s drumming culminating in a Brazilian /tribal-like beat that will be infectious to listeners. “Ambivalence” is the second track’s title and it begins with light saxophone play from Erhardt, with guitar from Noelle, drums from Davis and bass from Oh in the background. Erhardt’s snappy sax play is contrary to the song’s title as it should bring a smile to listeners’ faces, not a feeling of doubt. Soon, Paul’s sweet piano work arrives as Johnson’s trumpet also makes its presence known but in intermittent spurts. Then, about midway into the track, Paul’s cool tickling of the ivories gets a solo.The fourth track, titled “Powwow Now,” starts off with uber-precise piano notes from Paul. They’re repetitive and somewhat sonic-sounding with Oh’s bass playing solemnly in the background. Then, Erhardt’s saxophone and Johnson’s trumpet spring into action to really liven up the track and keep it true to its title. “Ten Years” is the title of the album’s fifth track. It’s initiated by ominous sounding guitar from Noelle giving the intro a solid rock bent, but then Paul’s piano and Johnson’s trumpet take the forefront transforming the track into more of a big band rhythm, so much so that listeners might envision hearing this song as a lead-in to a big dance number in a musical. Later on in the track, Erhardt’s saxophone and Willis’s oboe enter the melody bringing it down to a somewhat minimalist tone with Noelle’s guitar and Paul’s piano now playing delicately in the background. The eighth and final track on A Better Fate is titled “Tyler Park.” It starts off with calm piano work from Paul, then sultry saxophone from Erhardt with Shipp’s auxiliary percussion in the background. Then, as the track continues, Erhardt’s saxophone notes get quite high at particular times with Davis’s drums supporting him in the background. In conclusion, Eric Erhardt’s A Better Fate has everything a true jazz connoisseur would desire as well as fans of world, classical and rock music. Reviewed by, Sari N. Kent, CelebrityCafe.com. (May 26, 2012)
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Having performed professionally for more than two decades with Ken Peplowski, the Artie Shaw Orchestra, the Stylistics and a number of Broadway shows, Boulder-based reedsman Eric Erhardt is finally releasing his debut as a bandleader with A Better Fate. On the eight original cuts here, Erhardt, who started composing for big band and chamber orchestra in high school, displays a wide and forward-thinking writing scope, drawing from more than just modern jazz and incorporating Brazilian (“Liddle Rittle”), Afro-Cuban (“A Better Fate” and “Tyler Park”) and rock (“Ten Years”) rhythms. And while he is clearly a skilled composer, Erhardt is also quite adept at any woodwinds he plays, whether it be tenor saxophone, clarinet or flute. It’s no exaggeration to say that he’s outdone himself on A Better Fate. Reviewed by, Jon Solomon, Westword.com. (Jan 11, 2012)
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Eric Erhardt – A BETTER FATE: If tasty woodwinds are what turns your musical krank – you’re in for a real treat. Eric (a veteran player/composer) has produced a superb 8-piece CD that will put you in “woodwind seventh heaven”, especially on tunes like the gentle & introspective “Ambivalence“… the keyword here is laid-back… 6:41 of pure bliss. I also loved the intricate musical exchanges on “Powwow Now“… you’ll hear different things each time you listen to this 8:38 gem! My personal favorite, though, was the closer, “Tyler Park“… this is truly one of the more “on” jazz compositions I’ve heard in 2012… it spins a lot on my ACER pad! You’ll love the broad rhythmic brush Eric paints his sonics with… all the way from Brazilian to rock to 20th Century classical, it certainly merits the MOST HIGHLY RECOMMENDED I’ve given it, as well as an “EQ” (energy quotient) rating of 4.97. It also gets the “PICK” of this issue for “best acoustic jazz fusion”. Reviewed by, Rotcod Zzaj, rotcodzzaj.com. (2012)
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Eric Erhardt - A Better Fate 4/4
O’s Notes: Eric Erhardt plays flute, tenor sax and clarinet. He composed eight modern jazz selections and reviewed them with producers Felipe Sales and Dan Willis (ss, oboe) as they evolved. His band is Russ Johnson (t), Sebastian Noelle (g), Mike Davis (d), Nick Paul (p), Linda Oh (b) and James Shipp (perc). They perform the music to perfection blending tones for warm harmonies and rich melodies. Our favorites are “Ambivalence” and “Not Like Before”. Reviewed by, D. Oscar Groomes, OsPlaceJazz.com. (2012)
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