Canadian multi-reedist Glen Hall is noted for pushing the envelope, largely within modern jazz and free improvisational domains. This trio release exemplifies that notion rather poignantly. His interesting compositional concepts reflect learning from the masters, while concurrently sculpting his own voice. The band slices up time signatures; Hall and the rhythm section execute contrapuntal maneuvers, all within a semi-structured format. Within various cycles, bassist Michael Morse engages in counter-harmonies with Hall, providing an interesting balance for Joe Sorbara's rim shots and over-the-top maneuvers.
The band is apt to delve into a hustle and bustle groove, often complementing its geometrically designed themes. On "Radius, Hall pursues a subversive yet quite colorful avant-garde blues mode, eliciting an after-hours vibe. In other spots, they render crash and burn frameworks with stop/start motifs. Sorbara transmits his all-encompassing musicality by using various cymbals and small percussion instruments, bringing world music and tonal shadings into play.
Then on "Vertex, Hall's slightly gruff flute work contrasts nicely with Morse's rough-hewn arco passages. Nonetheless, Hall's theorizations and applications offer a striking portrait of a mature artist who enters the studio with a concrete game plan. This stuff is miles ahead of your typical free jazz cutting session, where vast expression equates to wantonly produced cacophony. Recommended.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.