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Guitarist Thor Madsen retains an historical rhythmic swing throughout his session of modern mainstream originals. His quartet stretches the boundaries. Improvising with serious purpose, the foursome carries a Thelonious Monk influence along an extrapolated course. Quirky and energetic, Madsen's music includes the spirit of our bebop forefathers, while blazing a trail defining the future of jazz. Douglas Yates carries a fluid, brass-like tone and a scissor-like articulation that matches Madsen's movements note for note. When stretching out, both embody the kind of freedom that we hope for in our everyday activities. One could easily lose himself in this session. And yet, the origin of each piece comes from Madsen's impressions of New York. Tension? Yes, of course, there is considerable tension both in New York City and in Madsen's music. Bird and Diz relied on the city's tension. Madsen's quartet forges ahead, with urban anxiety serving merely as its starting point. Ballads "Little Q" and "After the Munchies" explore overlapping tonal colors. Mallets and drones provide a backdrop, as the quartet provides a release. Most tracks move up-tempo and follow traditional jazz form. "Simple Song" summarizes the session with a loping, day's end, "Don't Worry, Be Happy" mood. Straddling the fence between creative improvised music and modern mainstream jazz, Thor Madsen's highly recommended quartet session combines a deep respect for the history of jazz with explorations into new acoustic territory.
Track Listing: Interference; Metal Hunden; Little Q; No Dancing Allowed (Please Mr. Mayor); After the Munchies; Crazy Dog Out the Window; Phobia; El Ni
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 ...