This debut recording from 28-year-old saxophonist and composer Sarah Manning offers a strong introduction to her abilities to write and play within the friendly confines of neo-bop music. That summation is aided immensely by the presence of her trio, which consistently keeps prodding the altoist's performance.
Manning is a native New Englander who felt that she didn't fit into the academic restrictions of the University of Massachusetts and William Paterson College in New Jersey, where she studied with Rufus Reid and Yusef Lateef. Starting anew in San Francisco, Manning began by busking for change in order to finance her cross-country relocation. Her talents were recognized per her appearances at leading Bay Area jazz clubs like Shanghai 1930, Jupiter, and Jazzschool. Radio station KCSM's Michael Burman selected this album as number five in the list of the top ten new releases of 2004.
The six compositions are all Manning originals and they have the angularity of tunes from the Blue Note 1960s era. The opening notes of "Powell Street Yowl" begins with the unison playing of Manning and trumpeter Mike Olmos sounding much like the car horns and cable cars on San Francisco's Powell Street. The appearance of Olmos adds a nice touch by providing a second horn. The liner notes are written by none other than respected jazz critic/political columnist Nat Hentoff, and they speak of the importance of Sarah Manning's ability to really play a ballad without speeding it up. On the title tune, Manning does just that, although on her second solo, she's progressed to a more driving mid-tempo pace. In the liner notes, Hentoff observes that Manning's words and style invoke the spirit of Booker Little, Dizzy Gillespie, and Charles Mingus, which is not too shabby an addition to a new artist's resume.
The rhythm section is comprised of three excellent musicians. Randy Porter is a pianist who has worked with Charles McPherson. Bassist John Wiitala has worked with tenor sax greats Joe Henderson, Charlie Rouse, and James Moody, and most recently with pianist Jessica Williams. Drummer Akira Tana has a multitude of albums under his own name and in the cooperative TanaReid with bassist Rufus Reid, and here he is a exceptionally proactive percussionist.
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand
Why do I love jazz? Well, depending on what you mean by jazz, I can send an answer in any number of directions. Briefly, I was exposed to this crazy music as a little boy, my dad good friends with the local music store, where he bought sheet music to play from his baby grand. Their massive record collection, my parents taking me to concerts and clubs (only one of five kids to do so), the Magnavox furniture stereo/radio ... it all added up. It was complex, emotional music. And it had rhythm! I drummed and followed the music through the '60s even as I enjoyed the new musics of my generation.
Along with side-trips to other musicians and music, it's been one hell of a pony ride ever since.