Martin Wind Quartet: My Astorian Queen

Bassist Martin Wind is a German national who received his early education and began his career in that country. He arrived in the US in the mid 90s to further his musical education, and studied with the likes of Jim McNeely, Mike Holober and Kenny Werner among others. He eventually began to receive broader recognition through his association with pianist Bill Mays. Over the years, and now a U.S. resident, he has gained a reputation as a multifaceted musician both as a leader and a sideman.

In this release My Astorian Queen, Martin Wind brings together a cohort of his former colleagues, pianist Bill Mays, multi-instrumentalist Scott Robinson and drummer Matt Wilson, to record a series of compositions, each of which has a special story or significance to Wind, beginning with the Thad Jones composition " Mean What you Say." From the time Wind first began playing this number with the Vanguard Jazz Orchestra, it struck a special note (open A) with him. The band takes the number at a breezy tempo lead by Mays' bright key striking. As the tune progresses, each member takes some solo space showing that they have an appreciation of their common musical values. "Broadway" was written in 1940 by Wilbur H. Bird and became a jazz standard popularized by The Count Basie Orchestra. Wind's arrangement was penned to take advantage of the instrumental talents of Scott Robinson, who is featured on the infrequently used bass saxophone. The composition bustles along in inimitable fashion, with Mays demonstrating his dextrous technique and Wind signalling that he has a big clear tone.

When Wind was contemplating the pieces that he composed, and which played an important role during his twenty-five year period in New York, "My Astorian Queen" was undoubtedly at or near the top of the list. In the liner notes, Wind provides a lovely vignette about the provenance. From the opening bass notes, it is clear that Wind is in control of the narrative of the number. As he strokes and plucks his instrument riding over the theme, Mays and Robinson follow his lead, picking up on the melodic shapes which move the number forward. There is probably no more fitting closing track to this recital than "New York, New York." Wind takes on the number full throttle, showing his adaptability and command of his instrument; all the while drummer Wilson adds interesting flourishes and touches in lockstep support.

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