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.
Sweeping right and left past the microphone, Jane Ira Bloom throws sound around the room, as a visual artist would apply paint on canvas. The directional movement provides a unique sound to her work and serves to highlight the feelings she wishes to express. Romantic and refreshing, Bloom's tenth recording as leader features her soprano saxophone with a creative supporting trio. Nine modern mainstream originals and two solo saxophone ballad chestnuts complete a program rich in harmony and somewhat introspective. The quartet leaves ample space for settling impressions, while blues roots and emotions pervade.
"Bewitched, Bothered and Bewildered" oozes a romantic spirit: passionate and yet subdued. Bloom's "Varo" infuses a lively street samba rhythm with a crisp, festive, percussion framework. "Without Words" stands out as a lovely sax/bass duet that allows the pair to express as one. Most of the session allows for the passing of creative ideas back and forth between the four artists, keeping the mood quiet and making room for quiet contemplation. Bloom's gorgeous saxophone tone and unique method of presentation makes this and her live performances a special treat.
Track Listing: Denver Snap; Now You See It; Bewitched; Blue Poles; Pacific; Truth in Timbre; Without Words; In Everything; Varo; Many Landscapes; How Are Things In Glocca Morra.
Personnel: Jane Ira Bloom- soprano saxophone; Vincent Bourgeyx- piano; Mark Dresser- bass; Bobby Previte- drums.
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 ...