Multi-instrumentalist Barry Romberg brings his band of fellow adventurers, Random Access, on another musical journey that is filled with generous dollops of invention, surprise and just plain old darn good music. Romberg retains his trademark sense of humor, a trait that washes into his fellow cohorts. The underlining feature, however, is the way in which they can spin ideas into compelling tales of adventure on was, shall, why, because.
Romberg uses a sextet for "Suite for the Wolfman," a collection of seven movements that is completely improvised. Given that it runs for 40 minutes and never lacks for attention says something for the improvisatory strengths of this group.
The suite starts off with the dramatic "Becoming," an intense stream evoked by violinist Hugh Marsh, with Romberg adding cymbal flourishes. The pulse is not quite the harbinger of what is to come in terms of style and tempo; to do so would be pedestrian. As Random Access has shown on its previous recordings, it is anything but.
The continuum of the suite finds saxophonist Kirk MacDonald kicking in the funk over the Geoff Young's percolating guitar and Richard Rabbit Brown's bass. Trumpeter Kevin Turcotte adds to the dynamism, as he shapes his solos with remarkable intuition. The understanding between the players is telepathic, making for seamless progression as they open the road to swing, free form, dreamy ballad pastures and bop, making for a capacious and striking tapestry.
The ethereal opening of "I Was a Celestial Body in a Contents Sale" is constructed on free-flowing lines that convolute and billow before they find semblance. The seamless flow of the ensemble has a classical air with a resplendent sheen before the music explodes. Turcotte drives the tempo, wailing and hitting the high notes, only to find that the rest of the band gets into the calm after the storm he has churned. But nothing is at it seems and nothing is as it may be; the turns and twists keep coming.
Random Access not only gives the music an enviable aesthetic, it also possesses the distinctive ability to intrigue and stimulate, making was, shall, why, because an engaging pleasure.
Track Listing: Intro; Urban Landscape; I Was a Celestial Body in a Contents Sale; Suite for the Wolfman; Stratus Fractus.
Personnel: Barry Romberg: drums, electronic percussion, keys; Geoff Young: guitars; Rich Brown: bass; Hugh Marsh: violin; David Occhipinti: guitars; Kevin Turcotte: trumpet; Jason Logue: trumpet; Brian O'Kane: trumpet; Kirk MacDonald: tenor and soprano saxophones; Kelly Jefferson: tenor and soprano saxophones, clarinet; John Johnson: alto saxophone, clarinet; Peter Lutek: baritone saxophone, bassoon; William Carn: trombone; Andrew Jones: trombone; Gord Meyers: bass trombone; Blair Mackay: percussion.
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.