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With detailed liner notes that explain his trio’s collective approach to each piece, Paul Rinzler describes which elements are improvised and which are composed. A straight-ahead jazz session, the trio’s program affords the listener an appreciation of how this sort of creation works in practice. The pianist and bassist may play a simple melody in unison once through to set the mood. Or the trio may have chord progressions laid out beforehand. Then, they improvise collectively by listening to each other, taking cues, and giving statements that describe their reactions. There are no standard tunes upon which to cling when indecision surfaces. Rather, the trio keeps a cohesive flow going at all times without any sign that this thought process could be anything other than automatic. The song titles serve to describe what impression the listener gains from this process. “Pow” has unexpected accents throughout, while “Groove Tune” swings like your favorite club date. “No Decision is Final” moves in unexpected directions like a Monk tune. Each artist offers a self-confident share of the program, from seamless bass phrases, to lyrical piano snippets of melody and a mood-altering variety of drum set textures. The pianist’s choice of harmony, for the most part, involves open spaces and simple consonance. Recommended, the Paul Rinzler Trio’s experience settles in for the listener as a collection of images that are made for pleasurable study and remain wide open for interpretation.
Track Listing: Pow; Circle; Pyre; Groove Tune; For You, For Me; No Decision is Final; It
Personnel: Paul Rinzler- piano; Jeff Norwood- bass; Darrell Voss- drums.
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 ...