All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Where Powell's "Celia" is usually consumed with a bebop pulse, the trio skirts the conventional approach, serving the meal as mere aroma, though there is quite enough sense recognition to identify the music. Indeed, that is the prowess of this endeavor. These three players operate on such a cooperative and collective manner, that their improvisatory explorations never dead end. Tristano's "317 East 32nd" glides in on some dissonance, only to unfurl a much gentler, sympathetic version of the tune.
The trio prefers its bebop to be chamber jazz; certainly, addressing the music with clarinet/piano/drums much like Benny Goodman's trio work adds to the mischievousness. Alec Spiegelman, eschewing his saxophone here for the more conservative clarinet, boosts the contributions from pianist Lefteris Kordis and drummer Thor Thorvaldsson, who is free to accent with cymbals or emphasize notes with a rattling pulse, like a gentler version of Han Bennink.
Resurrecting Hope and Nichols' music here is a wondrous tribute to these still-neglected song writers. Nichols "Change of Season" and Hope's "Boa" are both (re)introduced as gentleman's melodies, as are the trio's recovery of Ellington's "Zurzday" and Shearing's "Conception," both re-imagined as beautiful dreams.
Track Listing: Prelude; Celia; Zurzday; First Interlude; Conception; Boa; Second
Interlude; Chorale; Change of Season; 317 East 32nd; Celia (Reprise);
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 ...