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As he mentioned in last month's issue of All About Jazz-Los Angeles , saxophonist Tony Malaby finds great challenges and rewards from being a jazz musician in New York City, "It's such a wonderful place. I continue to get my butt kicked every week." What ever has not killed him has certainly made him stronger, as evidenced by Adobe, Malaby's fourth solo album. A work enriched greatly by the lively and sincere musical relationship among Malaby, Drew Gress (bass), and Paul Motian (drums), Adobe moves in assured, sinuous grooves of mind and soul. The five originals and four covers are all treated with an unhurried pace that primarily showcase Malaby's melodic dissections, but they also show the dynamic support in rhythm by bassist Gress and drummer Motian.
Ideas of jazz past and present flow throughout the album, with rightful comparisons to Sonny Rollins' piano-less trios of the '60s. Malaby and crew do more than scour through jazz' yesterdays for modern templates, though. There is an interconnected, easily accessible nature to this album that speaks of today. The trio's shifts and transitions in beats and moods are done with the seamless speed and ease of a download. Taking for granted that it is just there, that it just happens, Adobe is missed, like any useful modern application, once you are without it.
~ Germein Linares
Track Listing: Humpty Dumpty/ Maine/ Adobe Blues/ Dorotea la
Cautiva/ No Brainer/ Mia/ What Is This Thing Called Love/ Cosas/ Gone.
Personnel: Tony Malaby- tenor, soprano sax; Drew Gress- bass; Paul
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 ...