Saxophonist Trevor Watts’ storied past within Britain’s free-jazz/improvising scene is well documented. While his fellow compatriot, pianist Veryan Weston is among the newer breed of prominent – freethinking - instrumentalists. This outing contains the first sixty-minutes of an eighty-minute studio session. And as we might surmise, the duo provides a comprehensive glimpse of what can happen, when two giants of the improv scene coalesce. The musicians’ intuitive responses and on-the-fly excursions span a wide-ranging spectrum of styles and fabrics of sound. They render dreamlike notions and contrapuntal motifs amid various peaks of intensity on “Unrest Assured.” Whether performing on alto or soprano sax, Watts provides an evasive edge as Weston often serves as the instigator. This jubilant union of the musical spirits features a potpourri of minimalist overtures, circular patterns, and flowing thematic initiatives. Much of the excitement is based upon the artists’ gravitational exercises – where they counterbalance rhythmic flows with resiliently enacted micro-themes. With “Finding & Binding,” Weston redirects matters via a sequence of rippling lower-register arpeggios amid Watts’ fluttering lines and wistful interludes. They also meld a bluesy gait with abstract angles and blistering forays. Yet, this effort might also serve as an educational lesson for youthful musicians eager to delve into matters, that cannot be taught in school! (Highly Recommended)
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.