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Origin Arts bassist Jon Hamar effects an intimate trio with alto saxophonist Todd DelGiudice and pianist Geoffrey Keezer on Hymn. Heard most recently, prior to this date, on Richard Cole's Inner Mission (Origin Records, 2007), Hamar's Hymn is heavy on introspective yet muscular originals, as Hamar also chooses some sturdy standards upon which to improvise.
Hamar closes is disc with a swinging reading of Lew Brown's "Comes Love." Keezer rolls his fingers just right in the introduction, preparing the way for Hamar to state the melody down low, with piquant accents by DelGiudice. The song is played as an insinuation. Each instrument is responsible for keeping the others between the lines at different times, and each instrument makes every effort to color outside those lines. Keezer tries to foil Hamar's walking bass, and Hamar hands it right back to him in his solo. DelGiudice takes advantage of the situation, running away in his solo, looking for the spirit of Johnny Hodges.
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.