John Kelman
AllAboutJazz.com
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"When pianist G. F.
Mlely returned to the music scene in 2000, one might easily have wondered
if, after a hiatus of nearly twenty years, he still had it. After
all he had quite a successful touring and recording career and a recording,
Trio, that was among the top ten jazz albums being played
on US radio when personal circumstances caused him to bow out. How
would he sound twenty years later? Asserting in no small way that
he was back, Mlely released "Re-Entry," a daring solo piano recording,
proving that not only was his technical ability better than ever, but
so was his imagination and creativity.
"'Re-Entry' consists
of a number of standards, as well as some original compositions. While
Mlely's personally-developed harmonic language, called the '8-Tone Quarto-Modes
Concept,' is not yet in evidence, he still manages to demonstrate a
personal style. His attack is strong, his ideas audacious; he reinvents
the Gershwin staple It Ain't Necessarily So with a broken-up
stride on the left hand that makes it more aggressive than normally interpreted.
"His playing exudes
confidence and a sense that, as exploratory as he gets, he always knows
where he is going. Nothing feels left to chance, yet the spirit
of improvisation is strong; within the context of compositional structure
Mlely takes the tunes to places that often surprise. Even pieces
like Battle Hymn of the Republic, while always keeping the melody
near the surface, take unexpected twists and turns. Mlely is one
of the few pianists out there who can extend a solo piano interpretation
to seven minutes and maintain interest throughout.
"But for all his sense
of invention, melodic diversions and ability to break up the rhythm
while, all the while, implying a strong pulse, Mlely manages to keep
things accessible. This is no 'outside' exploration a la Cecil Taylor;
this is a considered investigation into the melodic potential of each
piece. Even on originals like Never Quite Say, with
its lightning fast runs and slightly more abstruse changes, Mlely never
loses sight of the core of the tune.
"Since 'Re-Entry,'
Mlely has issued two more albums, '88 Keys and Counting' and his first group
recording in over twenty years, the 2003 release 'A Little Night Waltz.'
But it is with 'Re-Entry' that Mlely established that he was back on
the scene, ready to take no prisoners. It is an inventive and passionate
album that deserves to expose Mlely to a broader audience."
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Lee Prosser
Jazzreview.com
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REVIEW:
"Five stars to RE-ENTRY, jazz pianist G. F. Mlely's
memorable CD! There are 9 selections that reveal Mlely
at his best, and each is intricate, straight-ahead jazz
in a classic tradition based solidly in contemporary jazz.
"Mlely shows great
depth of sensitivity, imagination, and technique
skills in this collection. This is a standout jazz
pianist who shines in everything he plays, such as the incredible,
sytlish treatment he bestows upon Battle Hymn Of
The Republic. He has four of his own jazz songs which
he plays with imagination and verve: Words We Say,
Fat Butterfly, Threnody For An Unborn Child,
and Never Quite Say.
"And for a special
treat, give a listen to what Mlely does with George
Gershwin's It Ain't Necessarily So and Bess,
You Is My Woman," two surefire hits for any season,
performed with brilliance. Very nice renditions, very!
"Secret Love
is a pleasure to listen to as well. Cole
Porter's All Of You is beautifully expressed,
with Mlely infusing the standard with new fire and emotion!
The ghosts of Cole Porter and George Gershwin must be sitting
together in the audience enjoying the genius of G. F. Mlely
interpreting their songs with such class!
"G. F. Mlely gives
the performance of a lifetime on this solo piano
outing, and it is an excellent CD for the jazzlistener.
RE-ENTRY is solo piano at its best, and this is a magnificent
collection of performances by G. F. Mlely! Five stars."
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Phyllis
A. Lodge
JazzUSA.com
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“Re-Entry is
pianist G. Francis Mlely’s answer to the doctors who told him that the wrist
injury he sustained some years back would hamper his former playing ability.
Call it a testimonial to the power of Mlely’s musical will.
"To paraphrase the
title of a Monk classic, Mlely’s piano is powerfully
‘on minor.’ The CD notes call him two-fisted.
I hear a spirit that is initially somber, like twilight, with
a brightly complex delivery. That complexity involves rather
than puts off the listener. He is as clear as a bell.
Mlely walks the keyboard and strums it like a harp. He rolls
it around in your ear like a bluesy summer evening after you’ve
had that tasty meal, and just before you nod off on the front porch.
Opening with It Ain’t Necessarily So, Mlely moves through
the Gershwin classic like the expressive ambling of a deep thinker
who triumphs over life.
"Battle Hymn of
the Republic is positively refreshing. The pianist’s hands converse
with one another in animated, musical dialog. They maintain a gentle
rapport between his creative impressions and the resultant outpourings of
musical expression. Battle Hymn floats on a cloud rather
than sloshes through trenches. Then Mlely carousels into a delightful
original entitled Never Quite Say. This is
the beauty of solo piano. It can be highly satisfying
for the listener, because one experiences an unobstructed
bird’s eye view of the pianist’s artistic spirit at the keyboard.
"Threnody For An
Unborn Child is a shining example of this.
Mlely’s treatment of this original is a quiescent, assured
anticipation of a beautiful spirit, and he closes the number
with a series of triumphant, climactic chords of jubilant welcome.
When he follows up with a very modest, calming version of
Bess, You Is My Woman Now, it falls softly into perfect
formation. Classics challenge the artist to distinguish their
musical fingerprint after plunging into an abyss of countless
others who have ‘been there’ and ‘said that.’ After stating
Bess... exquisitely, Mlely charms us with the classic,
Secret Love. By now, Mlely’s style is in our heads
as he plunges into an original, Fat Butterfly.
Distinctive as its title, and equally as magical, Fat
Butterfly snagged my ear. Mlely then follows up with
All Of You, which rings in warm, robust tones.
"Mlely closes with
a final original, Words We Say. It
is a proudly executed number that Mlely handles with
the bridled passion of a seasoned charioteer. He respects
the emotional forces of his personal expression as he allows it
to roam. And yet, he has a firm grip on the reins. Mlely
allows the listener into his experience, into his musical garden.
"G. Francis Mlely’s
Re-Entry may be heralding his re-emergence
into the tantalizingly perilous world of music.
It could just as easily be talking about a Re-Entry into Earthly
experience from a different musical dimension - one that is
best explored with an insightful, powerful guide. Mlely
is such a guide, and his Re-Entry clearly
harks to a streaming musical dimension.”
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Dave
Nathan
All Music Guide.com
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"Hawaii resident G. F. Mlely
has been blessed with various artistic talents.
In addition to pianist and composer, he is an educator,
essayist and author. He also overcame a serious accident
which threatened to end his career as a pianist. Thus the
title Re-Entry for his first album, a return to the performing
art.
"Whether he's playing a standard
or an original, Mlely's approach has all the flourish
and intensity of a classical pianist with the improvisional
surprises of jazz. He gets a very different sound
from the instrument. Bass lines aren't as prominent as he spends
a lot of time at the higher end of the keyboard (or maybe it's
the way he has his piano tuned). In addition, he has a unique
way of moving back and forth between the stated melody and his own
improvisational ideas. Listen to his rendition of Battle
Hymn of the Republic which has the undulations of a mazurka and,
if you listen very closely, a bit of ragtime, as well as other rhythmic
commentaries.
"His compositions are filled
with invention and bewitching musical patterns
which fit his style well. Abrupt tempo changes
pervade Words We Say, building tension and then allowing
its release. Never Quite Say has the
left hand repeating chords at which the right hand hurls all
sorts of swirling, dazzling runs and arpeggios. Very impressive
stuff, indeed.
"The standards also are the
recipients of Mlely's nonstop, expressive style, including a captivating
All of You. It Ain't Necessarily So is done at a
slower, almost dirge like, pace than one usually
hears it, again with the right hand bearing the brunt.
This album displays a high level of virtuosity and
is recommended."
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