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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 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.