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Pop
and Contemporary Music |
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Beth
Navarro - Sanctuary
Halo Records HALOCD14 Reviewed by AH
Anyone picking this album up in the record racks might think it was aimed
at the Enya fraternity. The dreamy sleeve with the peaceful lake, the
slightly forlorn photo of Navarro and the title hardly give the impression
of a country album, but that’s essentially what it is. Not only
is it a country album but it’s one by a native of this fair isle.
Generally the Americans have the market pretty sown up but this girl has
talent to burn and a voice that can take her pretty much wherever she
chooses.
When she’s pushing that voice and the band are rocking out behind
her Navarro comes across like Carlene Carter. However, to describe Sanctuary
as an album of whoops and hollers would be doing it a great disservice
as it dips its toe in folky territory (the gently sad ‘Polly’)
and has its fair share of mid-tempo, steel guitar soaked numbers and poignant
ballads, none more moving than the beautiful ‘High Wind On The Water’,
an album highlight. The song writing credits generally go to Alex Scott
and Alan Morgan who handle the guitar parts too, whilst Dave Hayward contributes
the lonesome pedal steel, keyboards and programming. Sanctuary is a pretty
good introduction to Navarro’s plentiful talents, but a more generous
budget and fuller band next time around could open much bigger doors.
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John
Cale – Paris 1919
Reprise/Rhino 8122 74060 2 Reviewed by DD
This was a very welcome re-issue since my vinyl original is starting to
show signs of serious wear. Recorded in 1973 with Lowell George and Richie
Hayward of Little Feat and The Crusaders Wilton Felder in supporting roles
along with the UCLA Symphony Orchestra, this gentle reflective set with
only one of its nine original tracks ‘Macbeth’ rocking out,
is certainly Cale’s most lyrical and immediately accessible album
in his long career as well as one of his very best. It’s possible
(and very enjoyable), to simply listen to the album and float along on
a sea of gorgeous melodies and superb playing but dig a little deeper
and there’s plenty of substance to Cale’s lyrics, especially
on ‘Half Past France’,‘Hanky Panky Nohow’ and
the plaintive ‘Andalucia’, a song that just locks in your
mind from the very first hearing.
The extras comprise one really strong track ‘Burned Out Affair’
inexplicably dropped from the original set and an outstanding selection
of first, alternate and rehearsal takes including a fragile ‘Andalucia’
and two takes on the title track, a Beatlish string mix, and a piano mix.
If like me you have a treasured vinyl copy you can’t go wrong with
this re-issue. It’s worth the price of admission for the extras
alone. If you’ve not come across the album before you owe it to
yourself to do so now. |
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The Young
Knives - Voices of Animals and Men
Transgressive B000H3092Y Reviewed by MC
Voices of Animals and Men provides a blast of anarchic pop and punchy
guitars. Convoluted vocals are spat out with an unexpected ferocity as
the music tumbles about. The Young Knives seem to draw their influences
from all over the last three decades of rock. Their sound is not that
far removed from bands like the Strokes and Art Brut, but it’s also
not just another of the North London set. The Young Knives seem to me
to be more like Sparks, pushing each song, each concept slightly further
than would perhaps be obvious. So it’s not simply enough to sing
about the tailoring of the horses in the new forest, it has to be sung
in the style of a military major taking personal affront at the very idea.
Like Art Brut, their lyrics and style can seem ironic, that they may even
be playing some strange joke on their listeners, but this is no comedy
album. Their smart and witty social observations are mixed in equal part
with surrealist visions, like a walk down an urban high street on a Saturday
night viewed through fractured glass. But the real trick is making this
distorted vision of life so easy to accept. This is art school rock, determined
to create something more than just pop, something aesthetic and introspective.
It’s also great fun.
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Abram
Wilson & The Delta Blues Project - Ride! Ferris Wheel To The Modern
Day Delta
Dune CD016 Reviewed by DD
With a ten-piece line-up fronted by the MOBO nominated trumpeter and vocalist
Abram Wilson this set tells the story of one Albert Jenkins, a young Mississippi
trumpeter from a music club owning family in search of a more exciting
life. It follows this journey as he joins a hip-hop band, rejects his
family, and on to his decision about just who he wants to be. It’s
a real credit to Wilson that this set successfully captures the essence
of a
range of different musical styles: essentially jazz and blues based it
takes in hip-hop, soul and funk whilst maintaining a real integrity and
consistency across the whole. Bound together by Wilson’s impassioned
vocals and great trumpet playing the band is also superb, underpinned
by powerful percussion from Shaney Forbes, Neil Charles double bass and
a solid, growling tuba from Andy Grappy. The brass section complementing
Wilson’s trumpet is tight, dynamic and soulful, giving this piece
exactly the drive and guts it needs. Fleshed out with harmonica and guitar
for the bluesier numbers and supported throughout by Ben
Burrell’s excellent piano work, this is a set I really wish I’d
caught live. Fortunately Dune have done a great job of capturing the full
experience here with a full blooded, weighty recording that does this
fine set full justice.
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Grayson
Capps - Wail And Ride
Hyena Records HYN9352 Reviewed by AH
Way back in 1999 Grayson Capps was the lead singer/rhythm guitarist in
Stavin’ Chain, a damn fine roots rock band on the verge of great
things before they fell foul of one of those neverending record company
merger. The band folded but fortunately Capps persevered and rose from
the ashes as an excellent solo artist.
Wail And Ride follows hard on the heels of his 2005 release If You Knew
My Mind and is a continuation of that record’s blend of bluesy roots
rock, country and earthy Americana. It’s abetter record all round;
lyrically and musically the songs are much stronger and the whole thing
has a more complete feel to it. Capps’ vocals, a sort of smokier
Waylon Jennings with a pinch of the Tom Waits growl, is a potent weapon
and carries his songs quite beautifully.
The title track swings along on a fierce rhythm, great country blues shuffle
with some very tasty acoustic lead, courtesy of the man himself. ‘NewOrleans
Waltz’ is exactly that, a waltz to the memory of a devastated city
and a sensitive tribute to the loss felt by many. Production is handled
by Capps and the delightfully
named Trina Shoemaker and they’ve given Wail And Ride plenty of
space and a rich, inviting sound, perfect for his terrific songs.
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Nigel
Clark - 21st Century Man
Hijack Records JACK002 Reviewed by MC
Dodgy produced three albums in the mid nineties, each of which was a perfect
jewel of soulful pop. The friction between the three constituent members
gave their songs a frisson of excitement which other pop bands lacked.
Then, in 1998, Nigel Clark left and the band lost a spark they never reclaimed.
21st Century Man picks it up pretty much where Dodgy left it. Everything
on this album has that feel: the songs, the drumming, the guitars. I even
had to check the sleeve to make sure the old band members weren’t
present on the recording. A few things have changed though, Nigel Clark
has left behind some of his old band’s clichés and jokes
and this record is distinctly more serious and mature in tone. This record
relies on Nigel’s innate ability to write superb songs, fully formed
musical creations that need no embellishments or gimmicks. So whilst his
old band spiralled in on themselves, heading off down a musical culde-sac,
this album is like a breath of summer air.
Production is sparse, and the tracks sound fresh, with only the vocal
effects betraying the studio input. Nigel Clark’s vocals still carry
the mournful overtones that make each song so heartbreakingly touching,
cutting through otherwise saccharine melodies like a knife to the soul.
I’ve waited eight years for this album; that’s a lot of expectation,
but it doesn’t disappoint one bit.
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Los Lobos
- The Town And The City
Hollywood Records 3708392 Reviewed by AH
If they handed out a music award for longevity Los Lobos wouldn’t
have much trouble scooping it up. The band started way back in 1973 and
a cool 33 years later they’re still coming up with something relevant
to say, musically and lyrically. The Town And The City is a throwback
in sound to Kiko, widely regarded as
their masterpiece. It’s a brooding, intense affair built around
13 songs, the lyrical content of which is predominantly handled by Louie
Perez. He taps into the sweet and the sour of what’s going on around
him, summing it up on ‘The City’: “Two lovers kissing
by the door / there’s yelling from the second floor.” As musicians
Los Lobos have few peers; they seamlessly blend the lean, mean sounds
of suburbia with the more romantic side of their Spanish roots, but somehow
always manage to keep the whole thing fresh and exciting. This release
has an undercurrent of deeply resonating bass lines that merge with a
dark, spellbinding groove… it’s menacing, but it works really
well. Steve Berlin sums up its mood when he says: “This is a record
of the moment. There are places where it’s dark and foreboding and
that’s certainly how many people feel right now.”
Astonishing that after 30 odd years they can still come up with something
this good.
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Neil
Young and Crazy Horse - Live at the Fillmore East March 6 & 7, 1970
Reprise CDW 44429 Reviewed by PD
This first archival release from Neil Young – albeit designated
on the cover as Disc 02 in the “Neil Young Archives Performance
Series” – is an appropriate tribute to his original Crazy
Horse backing group.
Crazy Horse, a mind-numbingly simple but splendidly effective rock band,
was built around the rudimentary rhythm section of Billy Talbot and Ralph
Molina. Living proof of the priority of a rhythm section’s compatibility
with the front person over individual technique, they would continue to
play live with Young, off and on, for decades. Danny Whitten, a talented
guitarist and songwriter performing with them here, one who would have
led the group to a successful career quite apart from Young’s superstar
presence and association, was doomed to be dead from a heroin overdose
two years later. The group is augmented on these recordings by Sixties
California studio eminence Jack Nitzsche on electric piano. He would go
on to work with Young on Harvest, and other later recordings.
The selection of numbers from the two New York concerts documented here
is relatively small. We get three songs from Young’s second solo
album, Everybody Knows This Is Nowhere (the title tune, and the now-classic
‘Down by the River’ and ‘Cowgirl in the Sand’);
a nice airing of ‘Come On Baby Let’s Go Downtown’,
the first single released by Crazy Horse on its own; ‘Winterlong’
a lovely mid-tempo number that did not surface on record until it was
included in the 1977 multi-disc compilation Decade; and ‘Wonderin’’,
a tune that didn’t come out until 1983, when it made for a nicely
offbeat single. And that’s it. No ‘Cinnamon Girl’ –
perhaps this group’s finest moment – and nothing from the
acoustic sets that opened both of these shows.
At least what is here is choice. For some the long versions of ‘Down
by the River’ and ‘Cowgirl in the Sand’ may be too long
and jammy (12 and 16 minutes, respectively) but hey, this is an early
pinnacle in hippie (read stoner) rock. The CD also delivers very good
live sound. |
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The Mustangs
- Split Decision
Blues Matters BMRCD20064 Reviewed by AH
In an overcrowded market you’ve got to have something special to
stand out. Four piece outfit The Mustangs operate in the blues/rock field
and by all accounts are a particularly fierce live act… not difficult
to imagine when you give their latest album a spin. Split Decision clocks
in at just over 32 minutes but it’s 12 tracks offer up plenty of
evidence as to why they are so highly touted by those in the know. In
Adam Norsworthy they have a singer and guitarist capable of belting out
a driving rock number like ‘Wired’ but who can also turn on
the sensitivity when the song calls for it. He’s ably backed by
Derek Kingsby on harp and a red-hot rhythm section in bassist Ben Mckeown
and drummer Jon Bartley.
The Mustangs aren’t a blues band, more a rock band with a bluesy
approach who wear their influences proudly on their sleeves. The rock
crunch of Free can be heard in opener ‘Can’t Find A Lover’,
The Kinks and The Beatles surface on the lovely ballad ‘Over Too
Soon’ and there’s more than a passing nod to The Whoon live
favourite ‘Put The Lights On’.
All the material is original, well crafted and sungand no doubt an absolute
riot in a live setting. Shouldn’t be long before the bigger venues
comecalling. |
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Tom
Waits - Orphans
Anti- 86677-2 Reviewed by PD
Tom Waits’ Orphans gathers together over three dozen newly released
recordings, together with tracks previously only available on film soundtracks,
artist tribute records, benefit compilations and the like, on three subtitled
discs. It is an astounding collection. The first disc, Brawlers, is mostly
primeval blues, with big drums hit hard, electric guitars nicely distorted
through tubes, and Waits’ subterranean, wolfish voice. Interspersed
among the enjoyable stompers are a few changes of pace, such as ‘Bottom
of the World’, one of those wonderful Celtic tearjerkers Waits does
so well, the gospel-based ‘Walk Away’, and a memorable cover
of ‘Sea of Love’.
Bawlers, the second disc, is a ballads set, beautifully done. This music
is antiqued throughout - lots of solo trumpet or clarinet, plucked banjos,
sweet sentiment and waltz time. Waits can pull it off because it represents
his authentic vision, and the strength of his songwriting is consistent
and deep. He rarely looks beyond his own writing here, but when he does
– particularly on a cover of the Ramones’ ‘Danny Says’,
of all things – the results are also brilliant.
The third disc, Bastards is a collection of odder songs, including pieces
like his cover of ‘Heigh Ho’ (yes, from Snow White) and Brecht
and Weill’s ‘What Keeps Mankind Alive’ (done in absolutely
conventional Weimar style). The musical numbers are combined with entertaining
spoken word pieces, including some appropriate Charles Bukowski and Kerouac,
as well as samplings of the original humour Waits’ concert audiences
have enjoyed for so many years.
The consistently high quality of this boatload of material is overwhelming.
The sound is wonderfully atmospheric and convincingly draws the listener
into Waits’ particular world. Very highly recommended. |
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Roddy
Woomble - My Secret Is My Silence
Pure Records PRCD021 Reviewed by MC
Idlewild started life as a punk band, with their four founding members
barely able to play their instruments. But as time passed the band grew
up and their music matured, finding complexity and subtlety. For the last
two albums it has been obvious the band have two, very different personalities.
And so they have made this distinction formal with Idlewild turning up
the volume and kicking over the amps, while Roddy Woomble (with most of
the same band-mates) works in parallel making acoustic music
and modern folk. Don’t let the word “folk” put you off
though, there are no old men on this record, no arran jumpers, and only
a hint of beard. Instead, what you get is Idlewild with fiddles. The first
surprise is that the transition between indie and folk seems to have been
surprisingly easy. The songs could easily have been crow-barred into a
rock structure and packaged up alongside true Idlewild material. The second
surprise is how much better the songs sound having been allowed a more
natural setting. Flutes and accordions sit surprisingly well alongside
electric guitars and allow the tunes to find their own way, progressing
as they wish. Kate Rusby’s fragile backing vocals complement Roddy’s,
giving the songs a traditional sound that completes the picture perfectly.
Sneaking in quietly at the end of the year, My Secret Is My Silence has
gone straight to the top of my pile.
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Shawn
Colvin - These Four Walls
Nonesuch 7559799372 Reviewed by AH
“I was kinda thinking of Steve Earle when I wrote that.” So
says Shawn Colvin about ‘Tuff Kid’, the third track in on
her brilliant new album. She must have been studying his style pretty
closely because it has the combination of hard-hitting lyrics and tough
melody he’s so noted for. That’s not to say she’s deserted
the style that’s served her so well throughout her career. All her
trademarks are on show; the lovely, clean acoustic guitar, the jangly
pop backing and the instantly memorable choruses. These Four Walls finds
Colvin again workingwith long-time collaborator John Leventhal;they go
together like honey on toast, bringing the best out of each other. She’s
also invited afew friends to help the party go with a swing; Patti Griffin
and Marc Cohn lend gorgeous harmonies to ‘Cinnamon Road’,
a country folk number reminiscent of Neil Young’s ‘Hearts
Of Gold’, and Teddy Thompson contributes to the uplifting ‘Let
It Slide’. Most of the songs are cowrites with Leventhal but Colvin
penned ‘I’m Gone’ alone and added in two covers, Paul
Westerberg’s ‘Even Here We Are’ and a single take version
of the Bee Gees classic ‘Words’. She might have been away
from the studio for a fair while but Colvin’s stormed back with
one of her best albums ever. Praise be. |
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Various
Artists - Stockfish Records Vinyl Collection
Stockfish Records SFR 357.8006.1 Reviewed by AKB
“Sentì il dolore nella musica si alzò dal pianoforte,
ma quando vide la luna uscire da una nuvola gli sembrò più
dolce anche la morte” – “He felt the pain in the music
and stood up from the piano; but when he saw the moon emerging from a
cloud, death also seemed sweeter to him.” It is impossible to escape
from this poetry – and also the music of ‘Caruso’. Those
who can must have a heart of flint! Christian Willisohn’s interpretation
of the Lucio Dalla classic is undoubtedly the climax of this high quality
collection.
There’s something of a boom in vinyl samplers at the moment. The
Stockfish Records Vinyl Collection is another of these favourite track
compilations and contains the work of some great singer/songwriters and
a variety of styles and genres: Sara K., Steve Strauss and Louis Capart,
just to mention a few.
The German legend Günther Pauler counts on DMM metalwork to deliver
superior sonics. His motto is simply “copper only”, and you
can’t deny the power, warmth and body to the sound. But to be honest
the brilliant sound is almost reduced to a nice side-effect, given the
quality of songs like ‘Caruso, ‘Song For You Far Away’
or ‘Heaven. For this music I would willingly accept EVERY noise!
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The
Dunes - Socializing w/Life
Curve Music CURV7 Reviewed by AH
Hailing from Toronto, Canada, The Dunes ride in on a wave of crashing
guitars and huge, stadium filling vocals. The lead singer, whose name
I couldn’t find anywhere on the insert but could possibly be Kevin
Pullen, has obviously been studying early U2 albums because he has the
Bono wail off to perfection. The twin guitars create a massive wall of
sound on the more uptempo numbers and the song writing’s pretty
solid, although for these ears the slower, more atmospheric numbers hang
together a little better. If you’re looking to find out more on
The Dunes I hope you have more success than I did; I couldn’t find
a website anywhere. I did manage to locate them on Myspace but that wasn’t
too forthcoming either, but at least you can hear tracks from the album
there. What I can tell you is that if you have a passion for guitar driven
alternative rock along the lines of Radiohead, Travis, U2 etc. and you
love the anguished sound so beloved by the aforementioned, then chances
are The Dunes will be right up your street. Have they got what it takes
to catapult them into the premier league? That depends on their live act.
If that singer has masses of stage presence to back up his voice then
I would tentatively say yes. |
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Jazz
Music |
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Ann
Hampton Callaway - Blues in the Night
Telarc 63641 Reviewed by DD
Marking her Telarc debut this is perhaps vocalist and songwriter Callaway’s
strongest release to date. A collection of American songbook classics
peppered with self-penned numbers sees Callaway accompanied on several
numbers by the delightfully named, all female Diva Jazz Orchestra.
Opening with a lively full band rendition of ‘Swinging Away The
Blues’ the upbeat tone for the whole set is quickly established.
Other highlights include a silky rendition of the classic ‘Spring
Can Really Hang You Up The Most’, and a bluesy joint reading with
her sister Liz of ‘Stormy Weather’ coupled very successfully
with ‘When The Sun Comes Out’. A joyful rendition of her Lambert,
Hendricks & Ross tribute ‘Hip to be Happy’ crisply accompanied
by Christian McBride’s bass and Lewis Nash’s drums is guaranteed
to raise a smile.
The title track gets a great treatment too with the full band really stretching
out behind Calloway’s impassioned vocals. My favourite of the set,
possibly because I’m a dedicated Sondheim fan, and the least in
character with the rest of the set, is Callaway’s reading of the
lovely ballad ‘No One Is Alone’ from Into The Woods. Complemented
by some beautifully played trumpet from Jami Dauber and tenor sax from
Anat Cohen, it offsets the more upbeat material well and completes a satisfying
and well recorded package.
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Ornette
Coleman - Sound Grammar
Sound Grammar SG 11593 Reviewed by PD
Ornette Coleman’s first album in 10 years to contain new material
sees him in splendid form at age 75. For all of the talk of Coleman’s
avant garde importance, he remains simply one of the great alto saxophonists
and a wonderfully gifted melodist with deep blues roots. On this live
recording from late 2005 Coleman presents six new tunes, together with
versions of ‘Song X’ and the chestnut ‘Turnaround’.
Coleman’s work has always been challenging, but the new pieces here
are by and large as melodic and accessible as anything in his large catalogue.
Fans of his famous early Atlantic recordings in particular are likely
to be happy with this one. The group here is a splendid quartet that has
been performing together for several years. It includes his drummer son
Denardo and twin bassists Tony Falanga and Greg Cohen. Cohen is an inspired
choice given his many superb recordings with John Zorn’s Masada
quartet, of music deeply influenced by Coleman.
The sound on this large-hall live recording is only decent. The interplay
between bassists Falanga and Cohen would be better served by a good small
venue. (New York City’s Tonic club, where Cohen has made so many
recordings in association with Zorn, would be an excellent choice.) If
Coleman’s music has ever appealed to you, however, or if you would
like a relatively congenial introduction to his work, don’t pass
this one by. |
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Depart
- Reloaded
ACT 9453-2 Reviewed by DD
Depart, the Swiss-Austrian trio, first came to prominence on the European
circuit where they toured successfully from 1985 to 1994. Now reunited
this marks their comeback release. The trio comprises Harry Sokal, a member
of the Vienna Art Orchestra and a leading post-Coltrane saxophonist, the
bass player Heiri Kanzig who has played with the likes of Art Farmer,
and the drummer Jojo Mayer who has made a name for himself in New York
and has been involved with David Fiuczynskis’ splendidly named Screaming
Headless Torsos (no, I’d never heard of them either).
The album opens with the Coltrane influenced ‘Timeless Dreams’
with Sokal’s fluid soprano floating high above a solid groove from
Kanzig and Mayer. This is followed by a traditional Swiss tune that for
me combines a touch of South African jive with a twist of Sonny Rollins.
Either way it really works. Other standouts include the lyrical ‘Chluppli
Groove’, opening with bowed bass an accomplished Mingus tribute
in the appropriately named ‘Mingus’, the gentle ‘Another
World’ beginning with the simplest bass line underpinning Sokal’s
tenor before moving onto some dextrous and delightful work from Kanzig.
The album closes with a more straight ahead reading of ‘They Say
It’s Spring’ to complete a really enjoyable set and prove
that this trio can cut it whatever the approach.
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Yellowjackets
- Twenty Five
Heads Up HUCD3112 Reviewed by DD
Originally formed by guitar virtuoso Robben Ford in 1981 this live set
marks the band’s twenty-fifth anniversary. Only Russell Ferrante
on keyboards, and Jimmy Haslip on bass remain from the original band,
but they are still dedicated to their original vision of improvisational
jazz that draws on a wide range of influences but defies easy categorisation.
The CD captures a 2005 performance in Paris and forms an eight number
retrospective of some of their best pieces as interpreted by the current
line-up of Haslip, Ferrante, saxophonist Bob Mintzer and drummer Marcus
Baylor. The tunes range from every period of the band’s evolution
from ‘Revelation’ (1986) through to 2005’s ‘Freeday’.
The playing throughout is consistently funky and strong but I particularly
enjoyed Haslip’s fluid and extended bass soloing in ‘Jacketown’.
‘Free Day’ with its abstract opening settles into a percussion
heavy groove recalling in its early stages elements of Weather Reports
‘Sweetnighter’ but not quite, holding true to the band’s
aim of being difficult to pin down. It’s all tight, driving and
funky as hell though and this full-bodied recording demands to be played
loud for best effect. The release also includes a bonus DVD, directed
by Tony Zawinul (son of the famous Joe of Weather Report) that includes
a fascinating mix of live (2005) performance from the Naima Club in Italy,
archival videos and interviews.
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Matt
Wates Sextet - Plum Lane
audio-b ABCD 5019 Reviewed by DD
Matt Wates has forged a reputation as one of the leading players on the
UK scene and in addition to playing with many famous names as a sideman
has led this sextet for the last six years. His aim is to ‘..come
up with material that will be fun to play without necessarily trying to
extend any musical frontiers’. No bad thing and given the quality
of the sextet, which in addition to Wates’ alto includes Malcolm
Creese on bass, Martin Shaw on trumpet and flugelhorn, Steve Kaldestad
on tenor, Leon Greening on piano and Steve Brown on drums, this is well
set to fulfil Wate’s mission. The band take inspiration from the
past and bands like the small groups of Horace Silver and Art Blakey and
focus on melody, swing and the sense of enjoyment in creating the music.
The set is all self-penned with the exception of Jimmy Rowles gorgeous
number ‘The Peacocks’ that gets an excellent arrangement that
bring’s the best from the memorable tune. A particularly nice, concise
solo here from Malcolm Creese too. All the numbers are strong but immediate
favourites are the bouncing opener ‘Guy’s Song’ with
a fluid solo from Kaldestad, the reflective ‘The Seer’, ‘Stockholm
Syndrome’ showcasing Wates’ alto in the introduction, and
the upbeat title track. This album is a joy to listen to from start to
finish.
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John
Abercrombie & Eddie Gomez with Gene Jackson - Structures
Chesky SACD317 Reviewed by DD
The second release in Chesky’s New York Sessions series, this set
brings together ECM stalwart John Abercrombie with Bill Evan’s long-time
bass player Eddie Gomez and drummer Gene Jackson.
Recorded, simply miked in the Chesky fashion, in the spacious acoustic
of St. Peter’s in New York the trio run through a mix of original
compositions and standards to great effect. This set isn’t about
pyrotechnics, the musicians are too assured of their abilities for that,
but is a gentle, reflective example of fine interplay between three masters
of the art.
“We kept things very loose, yet structured,” says Abercrombie.
“We figured out ways to set up the tune and then figured out a way
to end each tune. And then in between it was every man for himself.”
Standouts include the lightly swinging opener ‘Jazz Folk’,
a particularly lovely reading of Ray Noble’s standard ‘The
Touch of Your Lips’, Gomez’ minor key ballad ‘Walter
Pigeon’, ‘Embraceable You’ which opens with an extended
bass intro that says everything about Gomez’ virtuosity, and a gentle
take of Bill Evan’s ‘Turn Out the Stars’.
The recording does the music and venue full justice requiring, on my system
at least, a slightly higher volume than usual to make it all come alive.
This is a laid-back, well-recorded and highly enjoyable set.
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