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Trombonist Steve Davis has spent much of his two-decade jazz career in larger ensemblesbig bands but most notably sextets, from Art Blakey's Jazz Messengers, Chick Corea's Origin and the co-op band One for All to Benny Golson's New Jazztet. But when Davis leads his own bands or puts out his own records he thinks smaller. Outlook is six quintet, two quartet tracks, with Davis joined by pianist David Bryant, bassist Dezron Douglas, drummer Eric McPherson and alto saxophonist Mike DiRubbo (in the quintets).
There's an old jazz term in disuse today that perfectly describes Davis' trombone playing: cool. His very tonerich and velvety, as if the brass of his horn was burnished by suedecombined with his penchant for the middle and lower registers is the essence of cool. And his eloquent, understated lyricism is hard to find in many players of his generation (born in the late '60s). The two quartet ballad tracks here, Bill Withers' "Lovely Day" and Ellington's "I've Got It Bad and That Ain't Good," are as good as cool gets.
But cool doesn't necessarily mean lacking verve or swing. There's plenty of that here too from Davis' own buoyant originalsthe bright title tune, Blakey-ish "Mission" and especially "Smooth," an akimbo take-off on smooth jazz with a spicy kick. McPherson is the indispensable fulcrum that leverages the excitement of the quintet numbers, from his "Take Five" take on the waltz "Line of Flight" to his rim shot Latin rhythms on "Bosco." But both Bryant and DiRubbo bring a tart angularity to the proceedings that contrast nicely with the leader's emphatic chill.
Track Listing: Outlook; Smooth; Lovely Day; Line Of Flight; I Got It Bad (And That Ain't Good); Lord Davis; Mission; Bosco.
Personnel: Steve Davis: trombone; Mike DiRubbo- alto saxophone; David Bryant: piano; Dezron Douglas: bass; Eric McPherson: drums.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
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