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.
Trombonist David Manson has fashioned an extraordinary array of compositions for this quintet, featuring the great saxophonist Sam Rivers. Recorded at the Springs Theatre in Tampa, Florida, this band conveys an idiosyncratic approach. The opener “Fluid Motion,” commences with Doug Mathews’ bass solo followed by the three soloists’ sinuously executed choruses, awash with curved angles and zesty accents. It becomes rapidly discernible that this band packs a punch amid shifting rhythms that develop with the vitality of an unexpected windstorm. Drummer Anthony Cole and Mathews’ loose, polyrhythmic patterns support the hornists’ feisty exchanges atop modern bop like themes. Mathews’ booming walking bass lines on “Poodle Science” provides the band with a well-defined center of gravity. While Cole weaves in and out with a smack, crackle and pop approach. Rivers, Manson and trumpeter Jonathan Powell interact with fervor and resolve, whether performing complex arrangements or working thru a whispery ballad. At times, the band purveys a 60s style “Blue Note Records,” sound! But, the thrust of this outing is founded upon bouncy rhythmic structures to coincide with the artists’ expressive unison choruses. They delve into the free zone on “Crossdrift” – where Powell’s corpulent tone and lyrically charged soloing supplements a few jagged, bop motifs. Here and throughout, the musicians’ outwardly, magnetic camaraderie provides much of the magic. Consequently, the title Fluid Motion, denotes just one of the many notable attributes witnessed on this incontestably superb effort! (Zealously recommended...)
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.