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Before even blowing a note, the Miami Saxophone Quartet has earned bonus points by doing something other such groups would be wise to emulate: it has added a rhythm section (at least on three of Fourtified's nine tracks). There's even a second quartetviola, cello, two violinson the aptly named three-movement "Jazz Suite for Double Quartet," Latin percussion (courtesy of Richard Bravo) on "Spunky" and "Seventh Sign," and a guitarist (Daniel Warren) on "Spunky." To add more spice to the bill of fare, alto Gary Lindsay doubles on synthesizer on his arrangement of Byron Miller's "Sign." Despite being partial to woodwinds, it's pleasing to hear the saxophones in the company of assorted other instruments.
Even so, it is the saxophones (Lindsay; Gary Keller, soprano; Ed Calle, tenor; Mike Brignola, baritone) who are the drawing card here, and they never fail to please, individually or collectively. The interplay is often breathtaking (dig the awesome precision, for example, on Dave Brubeck's "Blue Rondo a la Turk"), the solos enterprising and perceptive. "Blue Rondo" (enhanced by Chuck Bergeron's resonant bass) is followed by another endearing Brubeck melody, "It's a Raggy Waltz," on which everyone (including pianist Jim Gasior) has a chance to spread his wings. Calle wrote the diaphanous "Dancing on a Cloud" and down-home closer, "Spunky." Gasior, Bravo, Warner, Bergeron and drummer Lee Levin comprise the rhythm section on "Spunky." The quartet (sans backup) rounds out the program with Paquito D'Rivera's serpentine dance, "Wapango."
Lindsay's twenty-seven minute-plus "Jazz Suite" blends the two groups in a splendid association, rife with exhilarating musical moments. Keller and violinist Glen Basham solo on the first movement; Keller, Lindsay and Brignola on the second; Calle on the third. The suite forms an opulent centerpiece for an album that is as persuasive as it is stylish and engaging.
Track Listing: Seventh Sign; Blue Rondo a la Turk; It
Personnel: Gary Keller: soprano, tenor sax (2); Gary Lindsay: alto sax, synthesizer (1); Ed Calle: tenor sax; Mike Brignola: baritone sax; James Gasior (3, 4, 9): piano; Chuck Bergeron (2, 3, 4, 9): bass; Mike Harvey (3, 4), Lee Levin (9): drums; Dan Warner (9): guitar; Richard Bravo (1, 9): Latin percussion; Bergonzi String Quartet (5-7): Glen Basham, Scott Flavin: violin; Pamela McConnell: viola; Ross Harbaugh: cello.
Year Released: 2009
| Record Label: Fourtitude
| Style: Modern Jazz
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 ...