The prizewinning German trombonist gets a chance to flaunt his remarkable chops on this briskly articulated outing. The artist’s Root 70 quartet abides by something akin to a rolling and tumbling musical demeanor. As Wogram and alto saxophonist Hayden Chisholm, guide the rhythm section thru a cavalcade of ebulliently executed, and routinely complex unison choruses. Brimming with bouncy and swiftly enacted modern jazz style arrangements, the trombonist exhibits astounding faculties by spewing forth impossibly fast 16th notes atop the rhythm section’s wavering pulses. On the piece titled “My Friend,” the band’s extremely tight, in-the-pocket groove is marked by drummer Jochen Ruckert’s Latin style beats and the soloists’ fluently exercised patterns. They tone it down a bit on Sushi High,” although the vibrant pace reappears on “Deep and Warm,” where Ruckert injects sweeping press rolls into the mix. In addition, Chisholm resides as a noteworthy foil for Wogram’s fleet-fingered excursions while balancing out the overall proceedings with airy voicings and softly stated lyricism. But the duo frequently engages in high-octane type fare during the majority this recording, which brings about a minor complaint. Many of these works seem to dovetail, as a sense of invariability surfaces on more than one occasion. And while there’s a whole lot of good stuff happening here, a few well-placed changes in the directional flow might have provided a bit of diversity. Yet Wogram’s latest contains some of the most invigorating small ensemble performances you’ll likely hear! *As of this writing, this CD is only available by mail order. For additional information you can visit Loft or Nils Wogram
Track Listing: 1.Enter The Jade Palace 2.Faces Of The Blues 3.DNA 4.My Friend 5.Sushi High 6.Eat It 7.Dawn 8.Deep And Warm
Personnel: Nils Wogram; trombone
Year Released: 2002
| Record Label: 2nd Floor
| Style: Modern Jazz
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid
I was first exposed to jazz when I was tiny. My earliest memory is watching Ella Fitzgerald scat on a Christmas special when I was no older than four. Like many who are from tiny towns, my first extended exposure was listening to the high school jazz band when I was a kid. For some reason I remember an arrangement of Hey Jude they did. My first real exposure was Stan Kenton in the Smithville, MO high school gym. Kenton and the band director there were old friends, so he would play there from time to time. My dad took me without telling me where we were going and it was the only show he ever took me to. I remember that Bobby Shew played Send In Clowns and I damn near levitated I was so excited. The huge sound and amazing chords floored me. I believe I was 13 at the time. I immediately started practicing and taking lessons. Music became a passion and nearly a career. I also listened to Dick Wright's Jazz Show on KANU every night. I can't even start to explain what I learned lying in bed listening to Dick talk about jazz. I met him once when I was struggling to put together a solo for Joy Spring playing in a combo at KU. Stopped by his office and asked for recommendations. He showed up at my jazz ensemble rehearsal the next day with a tape with example solos. What a kind man Dick Wright was.
My advice to new listeners is to stop worrying about what music is important and focus on music you like. I spent quite a bit of my music life listening to important music I didn't necessarily like. Must say I have quite a bit more fun now listening to music that I deeply enjoy. Some of it is even important.
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