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Blues are everywhere, and saxophonist Noah Howard knows it. So do his bandmates on this newest escapade for his own Alt Sax label. Yet, there's more. Howard employs an old blues lyric as the basis of his title track. Sung by Eve Packer, his frequent partner in song, the piece represents the crème de la crème of modern blues interpretations. Packer and Howard play hard-driving romps for half of the disc. Hence much of their music is rooted in energy and elan. His alto sax sings in its own inimitable manner and Packer's pipes weave flirtatiously inbetween.
To that end, "Gasoline Alley Crack-Up" comes across as the standout surefire tune. The flipside of the set welcomes the piano of Bobby Few and the drums of Bobby Kapp, both frequent running mates of Howard and also improvising luminaries in their own right. Sans any sort of bass, the trio works from resplendent chords and acheives some fervently enacted three-way dialogues and semi-structured hodgepodges. Therefore at times they drift apart, only to coalesce at various points. It's sort of like capturing or perhaps fabricating more voices or tonalities out of their instruments, where they transmit divergent contrasts via a mulitfarious approach and mostly avoid pre-conceived notions by bending the rules a bit. Utimately it's a journey of discovery and expansion.
Of course, the program is far from typical easy listening type fare. Essentially, the entire production demands the listeners' attention and imaginative powers. Shiny laurels and his own share of kudos are owed Howard for this endearing affair. (Feverishly and platitudinously recommended!)
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 ...