Hailing from Italy, The Hanuman Quartet's gospel professes a far- reaching and multicolored plane of concepts, including hummable themes, investigative dialogues and asymmetrical pulses that pose a slight realm of suspense on a per-track basis. Many of the semi-structured compositional attributes contain an open forum for improvisation amid nimble atmospherics, simmering free-jazz opuses and a little roughhousing along the way.
The band integrates numerous metrics into its manifesto. For instance on "Bhurma Dreams," bassist Stefano Solani's loping blues pattern offers a compact base for the hornist's abstract expressionism and splintered decomposition efforts. Here and throughout, the soloists manage to streamline these works with airy overtones, tendering a nice balance between conventional jazz articulations and the free-zone. Moreover, they strike a symmetrical perspective by fusing lighthearted choruses with scrappy and rambunctious rhythmic jaunts.
Clarinetist Fabio Martini tiptoes through dark passageways on "Carelian," while "Soundhousing" is designed with a staggered flow and features Martini's sweet-toned lines and saxophonist Marco Franceschetti's blurting and swirling contrapuntal maneuvers. And the frontline generates imagery of an involved conversation as drummer Danilo Sala instigates the exchanges via his peppery support amid a flirtatious sequence of events. Another twist to the saga surfaces on the final track "The Margin," which is a euphoric jaunt, composed of supple unison choruses and a breezy, mid-tempo swing vamp. Hence, the quartet imparts a ray of sunshine for the closeout. In sum, the 71- minute production is seeded within a multidirectional outline, gushing with the quartet's fluctuating subplots and ample infusions of good cheer.
Track Listing: Trinity Default; Bhurma Dreams; Retreat; Carelian; Indian Summer;
Cuernavaca; Soundhousing; Pottsum; Todos Santos; The Margin.
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David
I was first exposed to jazz thanks to my Mother (stage name Tobey Castle) who was a professional singer with the Tommy Dorsey band back in the day. Mom sang to me all the time as a little girl, but it never occurred to me to pursue it professionally until I met my husband David. He encouraged me to become a songwriter and together as co-writers we have written material for two albums and an EP.
As The Brehms, we try to bring a beautiful ambience to any event, and we feel just as comfortable in situations where we are
background ambience, or pushing the energy in a large scale concert, and everything in between.