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New York bassist Paul Steinbeck's third album for Engine Studios is an infectious, good-foot gumbo of retro and contemporary styles. Gospel, classic R&B, hip hop and New Orleans marching band music provide the grooves and rhythms, which sit alongside collective improvisations straddling New Orleans' Preservation Hall and today's free music. It inhabits similar territory to trumpeter Abram Wilson's Ride! Ferris Wheel To The Modern Day Delta (Dune, 2007), though with a smaller line-up and less hip-hop in the mix.
Steinbeck's propulsive ostinatos are key to the music, but it's veteran drummer Warren Smith who is the groovalicious backbone of the quartet. Smith cut his teeth in marching bands on Chicago's Southside in the late 1940s, moving to New York and the hard bop scene in the 1950s. Since then he's combined adventurous, a-list jazz and ethno-music activities with more lucrative R&B and pop session work (in the 1960s and 1970s he was frequently employed by Motown, recording and touring behind Marvin Gaye, Gladys Knight and others). He draws on all these experiences here, laying down righteous, funky beats throughout.
The other veteran is trumpeter Malachi Thompson. Sun Set is amongst Thompson's final recordings, and he passed from a longstanding illness two months after the album was made. His playingalways soulful, though here, not surprisingly, somewhat subduedcatches the spirit of the music in fine roots style. Thompson's dialogues with trombonist Chris Washburne are among the album's highlightsthe trombonist's exuberant lines, rich in growls and smeared notes and often played in a fruity bass register, complementing the older man's less prolix lines.
All the tuneswith the exception of Thompson's signature "Free-bop Now!"are Steinbeck originals. In general, they're brief and fragmentary, more concerned with establishing a groove than with melodic and harmonic invention, and a certain sameyness sets in over the course of the album. In this respect, Wilson's Ride! is more successful (and benefits too from its bigger line-up).
"The Blue Devils And The Holy Ghost" is the most distinctive of the originals. It starts with lush vibraphone textures over a gospel-type bass pattern, before Smith moves to drums and the tune morphs into a rambunctious, ex-New Orleans slow march, replete with raucous tailgating trombone. Other standouts are the title trackits melodic, Motownesque theme played by the horns in exquisite close harmonyand the closing "Number Six," an extended showcase for Smith's moody vibraphone.
Track Listing: Fredology (1-2-3-4); Sun Set; The Blue Devils And The Hly Ghost; Elevated; Elements One And Two; Three For All; Freebop Now!; Sustain Me; Which Sounds Bring Which? Spirit; Donuts; Sun Shine; Number Six.
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 ...