All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
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 grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me
I grew up listening to mainstream '70s rock then ended up on the staff at the college paper at San Diego State, and volunteered to review heavy metal LPs. My second semester, the music editor dropped a Fenton Robinson LP on my desk, Night Flight. You like metal; they play guitar--he plays guitar, the editor told me. If we don't run a review, Alligator Records is going to stop servicing us.
Night Flight opened up a whole new world for me--the blues led me, inevitably, to Basie, who led to Duke, who led to Mingus, who led to Miles, who led to ...