Bipolar
Bipolar
buy the album
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The reviews are in !
“ every once in a while a disc comes along
Wonderful package of delight ”
– Joe Lang, Jersey Jazz
EJAZZ NEWS
Led by trumpeter Jed Feuer, the group Bipolar is an eclectic quintet providing original music from Feuer and pianist Craig Swanson as well as intriguing arrangements of classical pieces from Beethoven, Brahms, Bach, Debussy and Faure all wrapped up into one neat debut package titled “Euphrates, Me Jane.” With Stephanie Long on the reeds, David Ostrem on bass and James Windsor-Wells rounding out the rhythm on drums, Bipolar unveils a fourteen-track album that taps into a unique classical theme, features original new material and and provides a delicate treatment of the Lennon/McCartney standard “And I Love Her.”
Of the many highlights on this marvelous first effort are Feuer's opening statement titled after the band, “Bipolar,” a brisk perky piece of music with an almost slight New Orleans flavor. The pianist provides two of the best compositions with the swinging “9/13” where he demonstrates his more-than-able chops on the instrument, opening an avenue for Feuer and Long to solo gently. The other Swanson burner is “Closed (Due To Fire),” a lush arrangement that begins softly and picks up the beat with Long's playful performance giving way to Feuer's muted horn work which all comes together for perhaps the best piece of the album.
The classical theme of the recording begins with the Swanson arrangement of Debussy's “Killer Beau (Soir) and continues on the Feuer arrangements of Beethoven's “Op.130,” Bach's “Prelude,” Faure's “Pavane” and ending on “Brahms 3rd.” The lively and jumpy Feuer composed title track serves as the finale.
Whether one likes classical music or not, the classical theme does not in any way trump the jazz, for this is clearly a jazz recording that one is bound to enjoy. Kudos to Jed Feuer and the rest of Bipolar because this recording debut, “Euphrates, Me Jane,” is one musical Tarzan of an album that swings mightily.
By Edward Blanco
eJazzNews
O’s Place jazz
O's Notes: As [Bipolar's] name suggests, they play a multitude of different styles. They open and close with Feuer's upbeat bop tunes, and progress through a series of swinging originals, a couple of pop covers and even some jazzy arrangements of classical pieces. We enjoyed Swanson's swingers: "Closed (Due to Fire)" and "9/13". We also liked their arrangement of “Just The Two Of Us". This is by no means a classical or pop album as these guys really swing!
D. Oscar Groomes
O's Place Jazz Newsletter
“ Bright and bracing music
that jaunts into unexpected musical territory ”
backstage
About midway through Bipolar's set at the Metropolitan Room, trumpeter-flugelhorner-founder Jed Feuer puts his instruments aside—those he can put aside—and applies a more than acceptable vocal instrument to Irving Berlin's "Stepping Out With My Baby." Other than some occasional scatting, which is also appealingly deft, he doesn't sing again, nor do any of the accomplished sidepersons making small big-band sounds along with him venture any trilling.
The nonsinging associates are alto saxist Stephanie Long, drummer Barbara Merjan, bassist David Ostrem, and pianist Craig Swanson, who writes the original tunes for the group when Feuer doesn't. Together they make the kind of now-traditional combo jazz that for a couple of reasons puts me in mind of the Eddie Sauter–Bill Finegan Orchestra, active in the 1950s and now practically forgotten.
One reason is the bright and bracing music made; another is the jaunts into unexpected musical territory. Feuer—taking himself farther than the Sauter-Finegan predecessors—thinks nothing of retooling, for instance, Ludwig von Beethoven (as he does with "Opus 130") or Johann Sebastian Bach (as he does in the "Kyrie" from the "Mass in B Minor"). You could say the result of such jovial treatment is that they emerge all fugued up.
Feuer announces his intentions with his opener, Richard Rodgers' "The Sweetest Sounds." From there, he and his ensemble—each of then getting more than one chance to shine as soloists—make sweet sounds, not just with refurbished classical themes but in various genres. After flavoring the Beethoven with a South American swing, the group gets bluesy on Swanson's "Saratoga Bluesprings," then film-noir underscoringish on Swanson's "Avenue of the Pines," then bossa nova–like on Feuer's "4 A.M." The mood darkens considerably on Feuer's ballad "A Total Loss," which sounded to me as if the melody longs to have words added. Perhaps man of many talents Feuer already has some in mind, something about an ended affair not being a total loss. Leastways that's the message the mournful melody sent me.
One of those Feuer talents is his way with a funny comment. His influences in the area aren't mysterious. Telling a funny Richard Rodgers story after "The Sweetest Sounds," he mentioned he knew Rodgers, thereby obliquely referring to his show-biz upbringing as the son of Broadway figure Cy Feuer. The son of any man who produced the first Guys and Dolls, among many other Broadway hits, was brought up among wits and likely to pick up their polished, though often broad, verbal acuity.
Feuer's spoken wit is echoed in the title of Bipolar's CD, Euphrates, Me Jane, and also accounts for the wit behind the music. And believe me, wit in a cabaret room these days is nothing to sneeze at.
By David Finkle
BackStage
– David Finkle, BackStage
jersey jazz
Every once in a while, a disc comes along from a player or band unfamiliar to me, and it turns out to be a wonderful package of delight. Such is the case with Euphrates, Me Jane by Bipolar, a unique quintet comprised of Jed Feuer on trumpet and flugelhorn, Craig Swanson on piano, Stephanie Long on saxophones and flute, David Ostrem on bass and James Windsor-Wells or Robert C. Kelly on drums. They have an eclectic program of 14 selections arranged by Feuer or Swanson. There are creative re-conceivings of several classical pieces by Debussy, Beethoven, Bach, Brahms and Fauré. Feuer and Swanson add a few originals, and they spend some interesting time with “I’m a Fool to Want You,” “And I Love Her” and “Just the Two of Us.” Feuer has a lovely tone on his horns. Long’s versatility lends an important touch to the overall sound of the group. The rhythm section is both supportive and exploratory. Bipolar thinks outside the box, but produces music that is attractive and accessible. This is their debut album, and is one that makes this listener eager for more from them in the future.
By Joe Lang
Jersey Jazz Magazine
jazz.com
Cleverly but loosely wrapped in the skin of Debussy’s “Beau Soir”, this entertaining arrangement by pianist Craig Swanson takes on a jaunty beat that recasts the mood of the piece from romantic to quixotic. With a sound reminiscent of Claude Bolling’s Suite for Flute and Jazz Piano, especially on the break when Swanson solos, this music is infectious. Its deliberate use of the fine interplay of Long’s flute, Ostrem’s bass and Swanson’s piano creates a wonderfully lilting feel in the center of the piece. They deftly dart around the melody in a carefree but deliberate way that is joyful in its approach. When at last Feuer breaks into a familiar refrain from the melody of Benny Golson’s “Killer Joe,” or in this case "Killer Beau," the sly juxtaposition works nicely to the coda. Well played and originally arranged.
By Ralph A. Miriello
Jazz.com (online)
contact
More information available at feuermusic@aol.com.