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Steve Feierabend has a way of visualising his music. The saxophonist called his previous album Revolving Doors, a hint about the direction of his music. There is nothing static in his music, and that direction continues here. He forges his pieces strongly on improvisation and different time signatures, evolving constantly and most often coming to a satisfactory conclusion.
Feierabend sets the pace and the tone right away with "Converging Paths, a tune that was inspired by Dave Holland and Chris Potter. He explores an odd time signature on the opening segment, venting a 10/4 beat on the saxophone that essays the melody with a gentle air. His playing cuts into a deeper edge before he slips into a swing mode, changing the pulse to bring in some nifty changes. The feel is extended by Erik Jekabson on the flugelhorn, but pianist Randy Porter diffuses the density to give the tune a fine balance.
The intensity of bebop courses through "Welcoming. Feierabend carves the first notch and Porter stretches the picture, but Akira Tana adds some of the finer splashes on the drums, his cymbal accents creating a whirl of colourful motifs. Feierabend caresses the melody of "Blue Skies. He is poised in his approach, even as he seeks out the road to improvisation. He and Porter extend the bridge of the song without detracting from its impact. At the end, it fits in nicely as a respectful nod to a well-loved standard.
Track Listing: Converging Paths; Wiggle Room; Hearts Desire; Welcoming; Soul Eyes; Imagined Worlds; Lev Logic; Romance for Amy; Blue Skies; Contemplation.
Personnel: Steve Feierabend: saxophone; Randy Porter: piano; John Wiitala: bass; Akira Tana: drums; Erik
Jekabson: flugelhorn (1,6); Gene Burkert: bass clarinet (1,=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 ...