Home » Jazz Articles » Album Review » Dan Willis: Velvet Gentlemen

208

Dan Willis: Velvet Gentlemen

By

Sign in to view read count
Dan Willis: Velvet Gentlemen
File under: Eric Satie Jazz or Quantum Physics Jazz. I don't know f you have to intellectualize the music, only one of the above subjects is necessary for me.

On his third album, multi-reed player Dan Willis reports in the liner notes of Velvet Gentlemen that his writing for this album was influenced by the French classical composer Eric Satie as well as the theories of quantum physics, including what he refers to as the "precision-randomness paradox." The saxophonist indicates that on several of his compositions, he used precise compositional sound loops that, when layered, present a facade of randomness. Willis reports reading an article in which Wayne Shorter had previously explored quantum physics in regards to his own compositions.

With regard to Eric Satie, Willis reports to have been musically influenced by the works of this 19th Century composer, who acquired the nickname "Velvet Gentleman" from Parisian children because he was always seen strolling in Paris wearing one of at least twelve velvet jackets that he owned. The owner of OmniTone, Frank Tafuri, observes that "...don't let the 'quantum physics' stuff scare you off, because this albums's "happening'.. " I'm sure that if I were a quantum physicist or a student of 19th Century classical music, I might be more encouraged to run with the above descriptions, but as an unwashed listener, I'll stay with the "scare you off" theory.

The acid test is, of course, listening to this album, which is quite eclectic. The opening track, "Many Worlds Theory," is straight out of Miles Davis' early electric period, circa 1972. Chuck MacKinnon's muted trumpet leads against a electronica background of synths and dissonance with a Joe Zawinul-type backdrop from Ron Oswanski's keyboards. The closing track, "Grandparent Paradox," builds in a similar fashion and again features MacKinnon's trumpet. On "3:10 Local" Willis' solo on soprano sax and bass clarinet brings some free jazz dissonance to the composition. Otherwise the bulk of this album is mainstream, with a series of sophiscated multi-layered textures from the many reeds of Dan Willis.

Willis plays an extroadinary variety of instruments that include (in addition to the saxophones) English horn, duduk, sinai, suona, zuro, piccolo bass, bass clarinet and samba whistle. The ensemble includes several like-minded musicians: guitarist Pete McCann, bassist Stephan Crump, multi-keyboardist Oswanski and drummer John Hollenbeck. Willis is also a member of the Grammy-nominated Hollenbeck Large Ensemble.

I'm not too sure of how the issues of Eric Satie's writing or quantum physics enter into these compositions. I do have a vague hint of what Willis is trying to accomplish per his "precision-randomness paradox." I do know that when Bill Evans and Herbie Mann released an album in 1962, Nirvana, that included Satie's "Gymnopedies" (Atlantic, 1962), it was a specific reference to that composition. Likewise, when Blood Sweat & Tears recorded their version of the same composition in 1969 for what became their most popular album, Blood Sweat & Tears 2 (Columbia), it was something that one could measure against the original. In the case of Velvet Gentlemen, we need more benchmarks to appreciate his accomplishments.

Track Listing

Many Worlds Theory; Nothing is Real; Place of Enlightenment; Door to Yesterday; Velvet Gentlemen; Closed Loops in Time; I

Personnel

Dan Willis
saxophone

Dan Willis: tenor saxophone, soprano saxophone, oboe, English horn, duduk, sinai, suona, zura, piccolo, bass clarinet, samba whistle; Chuck MacKinnon, trumpet, flugelhorn, EFX; Pete McCann: electric guitar; Kermit Driscoll: electric bass; Stephan Crump: bass, electric bass; Ron Oswanski: Fender Rhodes piano, accordion; John Hollenbeck: drums, percussion.

Album information

Title: Velvet Gentlemen | Year Released: 2007 | Record Label: OmniTone

Comments

Tags


For the Love of Jazz
Get the Jazz Near You newsletter All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.

More

Fiesta at Caroga
Afro-Caribbean Jazz Collective
Fellowship
David Gibson
Immense Blue
Olie Brice / Rachel Musson / Mark Sanders

Popular

Get more of a good thing!

Our weekly newsletter highlights our top stories, our special offers, and upcoming jazz events near you.