lunes, 1 de diciembre de 2014

The Jonathan Doyle Quintet - The Fed Hop (2014)

Gab's Rating: ☆ ☆ ☆ ☆

Lester Young never made speeches, but he had much to tell us, more often by his example than in words. Sweetness counts. Floating is all. Sing your own song. The members of the Jonathan Doyle Quintet know these truths. Better, they embody them.

While Lester was alive and in the decades after, he and his approach were copied – verbatim in some cases – by people who thought they could take on his majesty by appropriating his gestures. Some saxophonists attempted to become lighter-than-air; often they only sounded bloodless. Others tried to impersonate Lester's cool without realizing it came from within; it was deeper than a chin tuft and a hipster hat.

The JDQ honors but doesn't copy.

Remaining themselves, they evoke Lester and his friends – Eddie Durham and Charlie Christian, Walter Page, Freddie Green, and Jo Jones (with Dexter Gordon, Herschel Evans, Rodney Richardson, Les Paul, George Barnes, Shadow Wilson and Sidney Catlett standing in the shadows) – most beautifully. And don't let the absence of a piano in this Quintet lead you to forget the Prime Mover, William Basie, who benignly stands behind it all.

There is so much music thrust upon us in this century that is the oppressive antithesis of Lester's truth: heavy, angry, self-indulgent – that this CD and the band that created it are both hopeful manifestations of light spirits. Even the blue Southwestern shadows of this music don't make it weighty, indigestible.

Lester had an alchemical approach to familiar chord sequences: add a bridge to a blues to create the mournful BLUE LESTER; speed up the chord sequence to WILLOW WEEP FOR ME and invent a new melody line to have TAXI WAR DANCE. When pianist John Lewis worked with Lester in 1950-51, he noticed that Lester's solo on PENNIES FROM HEAVEN the second night of their gig was a development of the solo he had played the night before. The songs that the JDQ offers on this disc are, for the most part, variations on variations, but they never sound stale or derivative. One might hear the skeleton of JUST YOU, JUST ME, or 'WAY DOWN YONDER IN NEW ORLEANS, but the results are floating, sweet, original, and uplifting.

Having other players copy him made Lester both puzzled and sad, but I think he would hear this disc as a genuine, loving tribute to his music and his soulful spirit.

Michael Steinman

1. The Austin Bounce 03:57
2. Simple Sweet Embrace 04:23
3. Prince Harles 03:31
4. Hang On Every Word 04:04
5. Strange Machinations 02:48
6. You Never Knew Me At All 04:45
7. The Fed Hop 03:47
8. What's the Rumpus? 03:02
9. I've Never Been to New York 04:00
10.Sweet is the Night 03:55
11.Fox Paw 03:30
12.Hal Yeah! 03:18

Jonathan Doyle :: Tenor Saxophone
J.D. Pendley :: Guitar
Brooks Prumo :: Rhythm Guitar
Ryan Gould :: Bass
Hal Smith :: Drums

"The most important thing I look for in a musician,
 is whether he knows how to listen."
  - Duke Ellington - 


Tacuma Bradley - The Past Is in the Present (2014)

Source: cduniverse

This album is dedicated to my lovely sweet Mother. Thank you for showering me with love and allowing me space to grow into the person I am today. Words fail me when I try to sum up my appreciation for you and all that you are. I love you so much! This album is also dedicated to all the dreamers, thinkers, motivators, and healers. To those who have faced hardships and those fortunate enough to be ignorant of them. Those who appreciate the beauty and ugliness in all things, and those who don't. This album is dedicated to, you.



1. Bouncey
2. Silver's Serenade
3. Past Is in the Present
4. Sunset Stroll in Tokyo
5. Virgo
6. Alone Together

Tacuma Bradley (ts)
Patriq Moody (tp)
Yato Asami (p)
Chigita Yusuke (b)
Ishiwaka Shun (d)


Paul Rogers / Robin Fincker / Fabien Duscombs - Whahay (Around Mingus) 2014

Is playing with a European free jazz sensibility antithetical to the music of Charles Mingus? Absolutely. Does renowned bassist Paul Rogers try his hand at it with his new trio Whahay? Yes. Do they triumph? Without question, yes.

Rogers, a veteran of the London scene and bands of Keith Tippett, Paul Dunmall, and Elton Dean, called upon two French musicians saxophonist/clarinetist Robin Fincker and drummer Fabien Duscombs to perform this Mingus tribute. The music is built upon Mingus' themes and melodies, like a Frank Gehry post-structuralist building that utilizes a traditional foundation as a delivery system for liberation.

He saws an opening melody to "Better Git It In Your Soul" with Fincker's clarinet following. With the mood set, Rogers' bluesy pizzicato anchors Fincker's saxophone and the busied sticks of Duscombs. The platform from which the trio works, Mingus' themes, ties the sound to jazz history, but also fuels their untethered efforts. There is always solid ground under the exploratory flights of a piece like "Pithecanthropus Erectus" and "Bird Calls." The latter piece is taken at breakneck speed, as if it were a punk rock cover.

The music does no disservice to Mingus. Rogers' elaborations and abstractions are like that of an abstract painter, one with solid skills in figurative drawing. Fincker, who has a strong connection to Albert Ayler, also draws from Eric Dolphy and Jackie McLean for inspiration.

Rogers utilizes a seven string double bass to summon a cello sound (Mingus' first instrument) at times. He displays a dominant sound throughout. His one-man musical opens "Goodbye Pork Pie Hat" with an orchestrated solo of pulse, melody, and rhapsodic exuberance. Bells and melancholic clarinet enter to service the freedom. A liberation that is founded on the discipline of Charles Mingus.

Paul Rogers: 7 strings double bass
Robin Fincker: tenor sax, clarinet
Fabien Duscombs: drums

1. Better Git It In Your Soul
2. Ecclusiastics
3. Jump Monk
4. Canon
5. Pithecanthropus Erectus
6. Reincarnation of a Lovebird
7. Bird Call
8. Work Song
9. Goodbye Pork Pie Hat

"Hearing is Everything" Peter Watkins