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Chamber jazz or third streamor whatever the amalgamation of western classical music and jazz is calledhas had a handful of talented proponents sprinkled throughout the history of music. They have ranged from the more structured compositions of Igor Stravinsky to the looser improvisations of the Modern Jazz Quartet. Soprano saxophonist Jim Gailloreto has recently joined the ranks of these musicians.
On American Complex, Gailloreto is in the company of a traditional string quartet, a guitarist on one track, and Patricia Barber's piano and vocals on two.
The CD is made up of a long, four-movement piece and a shorter oneall by Gailloreto as well as a few standards, including Thelonious Monk, and two compositions by Barber. Even though there is a strong improvisational component to the music the feel is very much that of Western classical with jazzy touches. This is true even with the Monk compositions. Comparing this string quintet with, for example, cellist Akua Dixon's Quartette Indigo sessionsvery much blues-drenched jazz with classical accentsthis set is the other way around. Barber's songs fit well within the overall structure of the record, but they bear the imprint of her unique sound and style.
The instrumental tracks are very interesting both in their intricate constructs and in the solo and group improvisations. The main soloist is Gailloreto, but on "'Round Midnight" he shares the spotlight with violinist Katherine Hughes, and on "Well You Needn't" with guitarist John McLean. This is not to say that the quartet is relegated to the background like 1940s and '50s popular jazz records, where the role of the strings was to smooth out the horn sounds and make improvised jazz palatable to a larger audience. Quite the contrary,the quartet's playing is as angular as Gailloretowho is a master of his instrument. He is able to use repetitive ideas and concepts without making the record monotonous; in fact, he is able to infuse his themes with something new each time he improvises on them.
Even though this is not traditional jazz it is a very enjoyable and intellectually stimulating slice of improvised music from a master composer and saxophonist.
Track Listing: All The Things You Are; Well You Needn't; Honeysuckle Rose; Spring Song; American Complex I: Soliloquy; American Complex II: Lullaby; American Complex III: Incantation;
American Complex IV: Sermon; 'Round Midnight; Wind Song; Bad Clowns.
Personnel: Jim Gailloreto: soprano saxophone; Katherine Hughes: violin; Carol Kalvonjian: violin; Benton Wedge: viola; Jill Kaeding: cello; Patricia Barber: vocals and piano (4,10); John McLean: guitar (2).
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 ...