The core of Sorry, Pardon, What? is the three part suite that opens the disc. A palpable sense of movement persists through the sections. "Part 1" opens with a fanfare that recalls Ornette Coleman before it proceeds to sail along with a jittery momentum. The ominous drone of Ben Robertson's bowed bass heralds "Part 2," the most intriguing of the three parts. The track recalls the experience of acclimating oneself to an exotic new land. Saxophonist Tim Wilson plays a lovely, lilting theme, while drummer Dave Beck walks him through the new vistas on display. The effect is of a tranquil dream that is occasionally troubled by darker undercurrents. "Part 3" is the most concrete of the three parts, with the leader playing declarative lines over Beck's rock steady beat (which surely features some drum'n'bass influence in its DNA).
Sorry, Pardon, What? is the début recording of the latest edition of the Tim Wilson Trio. Australia-based Wilson, an adventurous and eclectic musician who is also a member of Logic?, Slur'd, Blowfish, and Bennetts Lane Big Band, has truly found sympathetic partners in his new trio lineup. Beck, in particular, seizes control of the music, deploying an arsenal of styles and timely interjections. It is a pleasure to listen to him challenge and prod his bandmates. That they respond so well is the main reason why this forward-looking disc succeeds.
Track Listing: Part 1; Part 2; Part 3; Sorry, Pardon, What?; Asahi Nage; Fletch Lives; Fading Away; Folks Passed
Personnel: Tim Wilson-saxophone; Ben Robertson-bass; Dave Beck-drums
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith
I've always loved jazz ...my mother was a classical pianist and my aunt was a blues singer, who was managed by Clarence Williams (Bessie Smith's producer). As a young boy, they introduced me to people like Louis Armstrong, Sarah Vaughan, and Jimmy Smith. We hung out at my Aunt Kate's Soul Food restaurant in Harlem after the matinees at the Apollo where I listened to their stories. I knew I wanted to be a jazz musician from then on. My mother wanted me to play piano, but my Aunt bought me a guitar. I've been playing ever since.
At my mother's early prompting, I first sang Blue Velvet at my Catholic elementary school...and all the nuns came running in and asked me to sing again, so I knew I must have sounded pretty good. I've been singing ever since.
I met Tony Bennett in Miami and he inspired me to return to New York. He was a great mentor.
The best show I ever attended is mpossible to say, I've seen so many great shows. From Tony Bennett to Pat Martino, Return to Forever to Weather Report...I've seen some great performances.
My advice to new listeners is don't let jazz intimidate you, the music has something for every listener and it is our American gift to the world.