All About Jazz needs your help and we have a deal. Pay $20 and we'll hide those six pesky Google ads that appear on every page, plus this box and the slideout box on the right for a full year! You'll also fund website expansion.
Saxophonist Matt Marantz's Offering is a splendid debut; echoing, in part, the lyricism and verve of three of his influencesCharlie Parker, Julian "Cannonball" Adderley, and Phil Woods. It's interesting to note that the young New Orleans based saxophonist is a tenoristwhose intrepid lines and phrasings are honed from practice and performancewith an alto-like tonality that is less throaty than players such as Chris Potter, and purposed with its own individuality.
Proving himself to be an astute writer on top of having fierce chops, Marantz's horn leads his band through "The Narrow Path," his playing synonymous with a bird in effortless flightgraceful maneuvers, turns, and fluttersharmoniously supported by pianist Sam Harris and featuring spot-on syncopating from bassist Martin Nevin and drummer Michael Davis. The music evokes a spiritual and peaceful quality, with contributions from in-demand guitarist Steve Cardenaswith whom Marantz once studiedmaking this an engaging listen.
The recording's tone is consistent throughout its eleven tracksinner reflections articulated through sophistication and melody. This thoughtful intent is also reflected in the track names. "Quiet, "Patience," and "Hope" are each descriptive of distinct, complex and piercing writing that illustrates communions of dialog and creativity; musician and instruments linked to one another in collaboration.
The inclusion of Cardenas adds another layer. On the lively, upbeat "Pastel" he embarks on a Wes Montgomery-like bop groove, but on the title track, he delivers some tasty Pat Metheny-esque voicing, which complements the other musicians. Yet the unselfish glow here is cast from the brilliance of Marantz's playing, which is filled with quiet fire and passion.
Offering doesn't try to overstate itself. It discards the notion of "hear-my-chops" bravura, and replaces it with a recording that has technical merit, but more importantly emotional depth; a personal statement from a promising young artist that warrants recognition.
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.