Preferring tonal clarity and precise lines, trumpeter Ron Horton eschews the extended manipulations frequently associated with contemporary improvisers. But the warm resonance of his sound and the fluidity of his improvisations ensure that he's never stodgy, as evidenced on this fourth CD as a leader. While the title plays with the notion of preoccupation with the latest electronic toys, the music illustrates the enduring pliability and vibrancy of a taut acoustic quartet. Often minimal, the tunes have their own character and story, with ample space for improvisation. Ben Allison's syncopated, percussive bass opens the title track, mirrored ...read more
The Ron Horton/Tim Horner Little Big BandPlay the Music of Andrew HillThe Puffin Cultural ForumTeaneck, New JerseyAugust 29, 2009
It was a warm, overcast evening, within a few short miles of the George Washington Bridge, in suburban Teaneck, that offered the rare opportunity to make the trek to the Puffin Cultural Forum to listen to some innovative jazz from a newly-formed group. Trumpter/arranger Ron Horton and drummer Tim Horner's Little Big Band was scheduled to play the music of Andrew Hill. Some may know Horton from his stellar trumpet and flugelhorn work on the fine ...read more
Like many of his peers, trumpeter/composer Ron Horton is conservatory-trained, with an equitable view of both the classic jazz tradition and the structural innovations of post-war free jazz. Epitomizing the new face of the creative mainstream, Horton is equal parts swinging hard bop stylist, modern classicist and exploratory avant gardist. All these facets appear on Everything In A Dream, Horton's most definitive statement as a leader--his third overall and second for the Fresh Sound label.
His previous album, 2003's phenomenal Subtextures, set the stage for his recurrent investigation into merging classical forms with jazz structures. Horton gives Samuel ...read more
On Subtextures, Ron Horton's sophomore release as a leader, the trumpeter/fluegelhornist continues his striking, impressionistic approach of synthesizing the free-ranging, out sounds of modernity with the softer, melodic palette of chamber music, a vision he unveiled to the jazz world's delight on 1999's Genius Envy (OmniTone). Horton's racked up some excellent experience over the course of his nearly 30-year career, playing with legendary composer/pianist Andrew Hill, as well as in the Jazz Composers Collective, a vital New York organization that also boasts Mr. Medicine Wheel himself, bassist Ben Allison, and pianist Frank Kimbrough, both of whom starred ...read more
Trumpeter Ron Horton established a reputation as a player’s player—able to hear, and provide, whatever the music needed—through his gigs with pianist Andrew Hill, saxophonist Jane Ira Bloom and the many faces of the Jazz Composers Collective. Subtextures, his second CD as a leader, highlights his considerable talents as a composer and arranger. With the support of long time musical cohorts—pianist Frank Kimbrough and the busy rhythm team of bassist Ben Allison and drummer Matt Wilson—Horton’s cleanly phrased trumpet confidently glides through the recording.
Hill’s “Cantarnos” finds Horton’s lyrical solo lines floating over the intro before seamlessly blending into the ...read more
Trumpeter/flugelhornist Ron Horton came onto my radar—floating on a cloud, it seemed—on Andrew Hill's Dusk (Palmetto, 2000). His solo on that disc's stunningly beautiful title track drifted and roiled with a understated, dreamy poetic grace, a song within a song, a personalized expansion of Hill's theme. The approach on Subtextures is much the same.The recording opens with an Andrew Hill composition, Cantarnos," and includes four Horton originals; a Chopin piece; pianist Frank Kimbrough's Rumors"; and Horton's take on an early chorale work by Messiaen.Horton employs all-star accompaniment here: pianist Frank Kimbrough ( Quickening, Omnitone, 2004), bassist ...read more
Neo Neo is a collaborative project conceived by drummer Lou Grassi, with Tom Varner on French horn, Ron Horton on trumpet, and Tomas Ulrich on cello. The recording is extremely dry and acoustic in texture, with an unusually quiet recording level — all in keeping with the philosophy of Creative Improvised Music Projects, a label that insists on bringing us as realistic a reproduction of the live performances as possible. The overall feel of this quartet is not at all unlike that of a classical chamber ensemble, albeit an especially modern and adventurous one. Varner’s French horn and Ulrich’s cello ...read more
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