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Nate Wooley/Hugo Antunes/Jorge Queijo/Mário Costa/Chris Corsano: Purple Patio
by John Sharpe
From the perspective of release dates Purple Patio can be seen as a follow up to Malus (NoBusiness Records, 2014) by the core trio of trumpeter Nate Wooley, Belgium-based Portuguese bassist Hugo Antunes and celebrated drummer Chris Corsano. But in actual fact the limited edition LP was recorded two weeks previously, presumably during the same tour. Where it differs is through the inclusion of two of the bassist's fellow countrymen in drummers in Jorge Queijo and Mario Costa. Unsurprisingly a ...
Continue ReadingNate Wooley/Hugo Antunes/Jorge Queijo/Mário Costa/Chris Corsano: Purple Patio
by Mark Corroto
If I had to do it all over again, I would not have judged Purple Patio as soon as I dropped the needle onto the LP. Yes, this is a vinyl-only release, and yes, it is only an edition of 300 copies. Instead, I should have listened to both sides all the way through. But that would have required getting up to turn over the disc. So, I just luxuriated in the first track of the first side. ...
Continue ReadingNate Wooley: Argonautica
by Karl Ackermann
Trumpeter Nate Wooley is among the most exploratory and esoteric players/composers in creative improvisation along with fellow trumpeter/cornetists Rob Mazurek and Peter Evans. Wooley's catalog ranges from the wildly free The Nows (Clean Feed Records, 2011), a quartet that included Ken Vandermark and Paul Lyton, to the Bojan Vuleti composed chamber work, Atemwende (Ignoring Gravity Music, 2013) with the Mivos String Quartet). But Wooley's real eclecticism has shone in his works as a leader--particularly in recent years--with the minimalist solo ...
Continue ReadingNate Wooley: Seven Storey Mountain V
by Karl Ackermann
Nate Wooley has a fairly traditional early background having played trumpet in his father's big band as a teenager. His departure from convention was quite radical as he went on to work with the likes of John Zorn, Anthony Braxton, Ken Vandermark and Evan Parker. Wooley is one of an innovative strain of trumpeters who view composing for their instrument as something more holistic to a given environment and period. Wooley's trumpet becomes the vessel of time, shape-shifting, mutating and ...
Continue ReadingNate Wooley Makes America Great Again
by Mark Corroto
In his excellent book of literary and cultural criticism, The Grey Album: On the Blackness of Blackness, Kevin Young describes the term Jazz as both a noun and a verb. He further explains that jazz from the time of its origins through, let's say the 1980s, was a word used to describe action. Such as the actions and creations of Armstrong, Ellington, Davis, and Coltrane. But when it ceased its movement it became a noun, or a word to identify ...
Continue ReadingNate Wooley: (Dance to) the Early Music
by Luca Canini
Marzo di due anni fa. Nate Wooley e il suo quintetto sul palco dell'Auditorium di Piazza della Libertà, ospiti (assai graditi) di Bergamo Jazz. Ultimi scampoli di concerto, tempo di bis: Wooley posa la tromba e annuncia: «Prima di salutarvi eseguiremo un paio di composizioni di Wynton Marsalis». Incredulità in sala. «Che ha detto? Marsalis?», chiede sgomitando al vicino uno spettatore due file più sotto. Esatto: Wynton Marsalis; quel Wynton Marsalis. Il più scapigliato e avanguardista dei trombettisti che rilegge ...
Continue ReadingNate Wooley: Battle Pieces
by Mark Corroto
Someday trumpeter Nate Wooley is going to sell-out, abandon his principles, and make a smooth jazz record. He will give in to the pull of commercial success and create a disc of elevator music which can be played, but taken no heed of. I jest, because everything he creates necessitates the ear and mind's consideration. Wooley is a member of the new generation of trumpet players, like Peter Evans, Taylor Ho Bynum, and cornetist Kirk Knuffke who move ...
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