If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
Trumpeter Ron Horton established a reputation as a player’s player—able to hear, and provide, whatever the music needed—through his gigs with pianist Andrew Hill, saxophonist Jane Ira Bloom and the many faces of the Jazz Composers Collective. Subtextures, his second CD as a leader, highlights his considerable talents as a composer and arranger. With the support of long time musical cohorts—pianist Frank Kimbrough and the busy rhythm team of bassist Ben Allison and drummer Matt Wilson—Horton’s cleanly phrased trumpet confidently glides through the recording.
Hill’s “Cantarnos” finds Horton’s lyrical solo lines floating over the intro before seamlessly blending into the melody. Kimbrough’s solo plays with the composition’s movement and Wilson changes up the groove, keeping a sense of momentum without repetition, before taking his own runs between group passages. “Malaby” evokes its namesake’s (i.e. saxophonist Tony) penchant for rhythmic ensemble themes and open forms that provoke improvisation, and is a perfect vehicle for Allison’s solo. “Ruminations” and the arrangement of Messiaen’s “O Sacrum Convivium” showcase Horton’s enchanting melodic playing and tasteful reticence.
The mid-tempo title track grants the leader room to stretch, his solo demonstrating his faculty and creativity on the trumpet by using combinations of fast runs and sustained notes to tell a story. Kimbrough’s solo mirrors that spirit, providing a nice counter to the horn. The two have a spirited exchange on the up-tempo burner “Mutability,” which has an offbeat groove and quirky melody. Wilson’s drumming flurry spurs Horton’s muted trumpet and takes the tune out. An elegant reworking of Chopin, on “Etude,” acts as an epilogue and closes the CD.
The spontaneity and clarity of the performances on Subtextures belie the carefully conceived compositions and arrangements. And as the title suggests, they show that Horton has more to offer than just his horn.
I love jazz because it takes my mind away and is very relaxing.
I was first exposed to jazz by my older brother every morning while eating breakfast before school he would play Hiroshima One which I hated but after he moved away to college and I moved to Miami I fell in love with jazz music.