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.
Tasty melodies, strong arrangements and capable blowing are the main assets of this 2004 recording by Christian Pincock's quintet. The trombonist leads a young but seasoned-sounding group with solid valve trombone work and a book of pleasant modern jazz tunes that range from gently crooning ballads to slow-boiling jams.
Pincock is known by many as a sonically wisecracking synth player in various improv settings, so it was a pleasant surprise to learn of his prowess in the traditional jazz arena. He blows a mean trombone, handling tricky melodic lines without a hitch and delivering sometimes fiery, liberated solos. There's only one coverMonk's ubiquitous "'Round Midnight, arranged quite uniquelythough none are needed, as Pincock's compositions stand up just fine on their own. The music is mostly sedate and straight, but it goes out enough to stay interesting.
Hopefully this self-published disc is just the first of many to come from Pincock. He clearly shows all the signs of being a seeker of those elusive, ineffable things that keep some of us coming back again and again to that good old place we call jazz.
Track Listing: Farewells and Partings; The Learning Palace; Faceless Woman in Orange; Round About
Midnight; Speed Racer; Reflections of the City; Eyes of the Enemy; Alone Among Millions; No
Personnel: Christian Pincock: valve trombone; Felipe Salles: woodwinds; Jesse Stacken: piano; Moppa
Elliott: bass; Jeremy Noller: drums.
Year Released: 2004
| Record Label: Self Produced
| Style: Modern Jazz
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 ...