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Moving Forward, Standing Still doesn't sound as though it's led by a flautist, in spite of the fact that flautist Jamie Baum has allowed herself and her instrument their fair share of solo time. She's also given her front line cohorts their share, too, in addition to writing in a good deal of multi-horn harmony and ensemble interplay, on a set that sounds like the work of an artist who has put her main focus in the arranger/composer field, with intriguing results.
Baum's septet features an unusual front line soundflute/trumpet/alto sax and French horn, with the occasional bass clarinet blowing in. The group paints its sound with an interesting spectrum of hues on a set that owes as much to the influences of modern classical soundsStravinsky, Bartok, and Ivesas it does to jazz.
Many of the pieces have a dark tint to them, brooding atmospheres. The opener, "All Roads Lead to You," has the classical tingeand no wonder: the "You" in the title refers to perhaps Baum's major influence, Igor Stravinsky. And "Bar Talk" referencesof courseBartok.
The mood brightens with the first section of "Medley: From Scratch (Trilok Gurtu)/Primordial Prelude," bringing in a sort of funk groove beneath the two-brass/two-reed harmony, before the tune morphs into a wash of swirling, murky greys.
I've found Moving Forward, Standing Still impossible to listen to casually, in spite of the richness and beauty of the sound; there's too much interesting stuff going on at different levels in the septet arrangements. This is a set that repays you for your full attention.
Track Listing: All Roads Lead to You, Spring Rounds, In the Journey, Clarity, Medley: From Scratch/Primoridal Prelude,South Rim, Central Park, Bar Talk, Spring, Rivington Street Blues
Personnel: Jamie Baum--flute and alto flute; Ralph Alessi--trumpet, flugelhorn; Doug Yates--alto saxophone and bass clarinet; Tom Varner--French horn; George Colligan--piano; Drew Gress--bass; Jeff Hirshfield--drums
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 ...