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Saxophonist Dudley Owens and bassist Aaron Immanuel Wright bring together (in classic quintet format) a band intent on expanding the language of Miles Davis's second great quintet from within. On People Calling the band does exactly this: they create a late '60s sonic image stamped in 21st Century digital. The writing is firmly post bop, with Atlantic period Ornette Coleman fighting its way out. These influences are governed by a firm compositional vision intent on cleaning up the excesses of post bop (ragged beginnings and endings) and replacing them with crisp transitions.
On Owen's "Book of Revelations," Wright and drummer Clif Wallace slowly introduce a John Coltrane-like motif approximating "A Love Supreme" that soon takes on an "Eye of the Hurricane" complexity. Pianist Willerm Delisfort solos over this with an angular, block-chord grace. The harmonic scaffolding of the piece strongly recalls the early European recordings of Miles' second quintet, as presented on Miles Davis Quintet: Live in Europe 1967: The Bootleg Series Volume 1 (Columbia, 2011). The difference being that everything here is less experimental, more orderly and content. Recordings like this demonstrate that while jazz has moved on in so many other directions, the old ways still warrant consideration and investigation.
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach
I was first exposed to jazz when I was studying at the University of Puerto Rico. Nearby, I found a little record shop where the music coming from the store (Taller de Jazz Don Pedro) made me stop. I walked down the short stairs and towards the music and learned that the music playing was Clifford Brown and Max Roach. I fell in love with it. I wondered around until the owner (Pedro Soto) asked if I needed help. He then introduced me to John Coltrane, Miles Davis, Gerry Mulligan and the rest is history. I walked out of the store with my first jazz recording: Clifford Brown and Max Roach at Basin Street.