Terence Blanchard's 2013 return to Blue Note, Magnetic, built upon his decades-long history of post-bop dynamism with a forward-thinking approach that blended edgy, modal improvisation with a sophisticated, genre-crossing compositional style. It was a concept he had been investigating on his previous efforts Bounce (2003), Flow (2005), and Choices (2009), and, though it had been years since Blanchard was considered a young lion, the eclecticism of the album matched the work of many of his younger contemporaries like trumpeter Christian Scott and pianist Robert Glasper, the latter of whom even played on Bounce.
The Grammy-winning trumpeter/composer returns to his jazz-renaissance roots with a set steeped in the glossy hues and tones of New York City at night. Blanchard’s score for the soundtrack of Robert De Niro’s new film captures a late-life crisis with jaunty blues, brooding balladry and svelte modern jazz. The mood-setting themes have strong melodies and rhythmic edge, and with saxophonist Ravi Coltrane stretching out and on-form pianist Kenny Barron leading a classy rhythm section, the jazz is for real. Blanchard pares his playing of excess, and plays beautifully.
Terence Kemp McKenna (November 16, 1946 - April 3, 2000) was an American researcher, philosopher, speaker, spiritual teacher and writer on many subjects. His works are wide-scoped, ranging from consciousness, the human experience, psychedelic substances and their role in societies, evolution of civilizations, origin of the universe to aliens.
Magnetic marks Terence Blanchard's return to Blue Note Records after an eight-year sojourn in which he wrote and performed large scale works for film, and cut smaller group offerings for Concord. He utilizes his fine live band in the studio here – tenor saxophonist Brice Winston, drummer Kendrick Scott, dazzling pianist Fabian Almazan, and 21-year-old bassist Joshua Crumbly. Bassist Ron Carter guests on a pair of tracks, as does saxophonist Ravi Coltrane, while guitarist Lionel Loueke plays on three. Blanchard composed four tracks here, and the members of his quintet all contributed selections – Almazan even has an unaccompanied solo piece on the record.
Terence Davies (1945- ), filmmaker and writer, takes us, sometimes obliquely, to his childhood and youth in Liverpool. He's born Catholic and poor; later he rejects religion. He discovers homo-eroticism, and it's tinged with Catholic guilt. Enjoying pop music gives way to a teenage love of Mahler and Wagner. Using archival footage, we take a ferry to a day on the beach. Postwar prosperity brings some positive change, but its concrete architecture is dispiriting. Contemporary colors and sights of children playing may balance out the presence of unemployment and persistent poverty. Davies' narration is a mix of his own reflections and the poems and prose of others.
Falling halfway between the modern R&B of Introducing the Hardline and the extravagant Neither Fish nor Flesh, Symphony or Damn is Terence Trent D'Arby's most ambitious album yet. It's also his best, because it takes the fine songwriting of his debut and melds it to the sonic excesses of Fish. Sure, some of it is embarrassing (it's hard not to cringe during the "Welcome to My Monasteryo" declaration at the beginning of the album), but more often than not, D'Arby's experimentations succeed, and succeed grandly, at that.
The second recording co-led by trumpeter Terence Blanchard and altoist Donald Harrison (both of whom had become stars with Art Blakey's Jazz Messengers) mixes together the influences of New Orleans (they even perform a somber version of "When The Saints Go Marching In"), hard bop and the avant-garde. ~ AllMusic