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Whirled Jazz is an adventurous quartet that prefers swinging, straight-ahead sounds with a lot of space. It’s to let their consonant harmony and soulful groove sink in. Tom Bergeron wrote the music for this session, which emphasizes ensemble unity and group interplay. Trombone and alto saxophone occupy most of the solo space, while all four artists interact with spontaneity. Bergeron and Keller Coker converse on “Kum-Sah” with intuitive phrasing. The piece’s driving, triple meter spins with a lively edge. The majesty of “Pacific Crest” speaks of where the music comes from. It has a natural quality that includes all the rough edges found in Nature. Trombone and saxophone attach sweet, classical movements to their set of impressions, while bass and drums hold things in a steady groove. Much of the program settles down with traditional jazz symptoms. Whirled Jazz brings New Orleans to a distant shore, away from bright city lights and closer to Nature. Using flute for “Radiance,” Bergeron portrays the Caribbean island lifestyle that contributed so much to the roots of jazz a century ago. Still does.
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.