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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 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 ...