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“Quintology” are a bunch of young cats who hail from the New Orleans area, and have spent some quality time honing their individual talents at the University of New Orleans Jazz Studies program chaired by the estimable Ellis Marsalis. Here, the bottom line is that “Quintology”, (the band) has delivered one heck of a debut recording. With this freshman release, and along with their New Orleans brethren “Astral Project”, the somewhat conservative New Orleans jazz scene gets a much needed shot of adrenaline!
Saxophonist Brent Rose generates excitement in expeditious fashion with his composition titled, “Kirotedo”. Here, the sharp, clever yet engagingly melodic horn choruses come right at ya’ like a herd of stampeding buffaloes. Tenor saxophonist Brent Rose assumes command with a soaring, into-the-ozone solo while boasting a deep, husky tone somewhat reminiscent of Sonny Rollins or perhaps Dexter Gordon. Trumpeter, Mark Rapp follows suit while embarking on a solo which features rapid phrasing and a fat brassy tone as the lads “gleefully” explore post bop modernism with a contemporary yet hard-edged feel. Mark Rapp’s “In The Moment” invokes a classic 60’s Blue Note feel featuring plenty of depth and solo space while drummer Mark DiFlorio’s polyrhythmic fury provides a foothold for the stylistic makeup of this band. “In The Moment” showcases pianist Charlie Dennard and more effective soloing by the musicians as this composition flaunts pleasing melodies amid memorable choruses. From the onset, it is apparent that these gentlemen took great care with compositional form and execution. Brent Rose’ “Oohbobabebop” commences with a traditional New Orleans finger-snapping shuffle beat accentuated by Mark DiFlorio’s sweeping press rolls and multifaceted attack. On this piece, the alluring and climactic nature of the horn arrangement keeps this tune pumping and jumping further enhanced by Mark Rapp’s mid to high register trumpet passages. Here, Rapp throws in some growls and extended note “slurs” perhaps paying respect to the New Orleans tradition, hearkening back to the days of Louie Armstrong.
Brent Rose’ warm phrasing, keen utilization of vibrato and dark husky tone rekindle thoughts of the late, great Ben Webster on his composition titled, “For A Smile”. Bassist Brady Kish’ composition, “A Night In February” features odd-meter rhythms and “Monk-like” phraseology complete with a fresh attitude. Mid-way through this piece the boys skirt the fringes of free jazz yet restate the theme for the coda while Rose’ hard bop scorcher “Almost 4” closes out the album in gregarious fashion.
“Quintology” is a rousing success as this band obviously took great care and forethought prior to releasing their first CD. This band is tight, yet allow themselves room to breathe and explore while the compositions are first rate and refreshingly memorable. Modern jazz needs more bands like “Quintology”!.........Highly Recommended.. * * * *
Mark Rapp; Trumpet & Flugelhorn: Brent Rose; Tenor & Soprano Saxophone: Charlie Dennard; Piano: Brady Kish; Bass: Mark DiFlorio; Drums.
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.