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On his self-produced debut, Nick Hempton Band (2009), saxophonist Nick Hempton showed a deft sense of humor through his liner notes. No witticisms mark the release of The Business, but another factor that was evident on the first manifests itself all over again: Hempton is a saxophonist of class.
Yotam Silberstein on three tracks. The understanding between them leads to a musical odyssey that is deeply satisfying.
"Flapjacks From Belo" is a hearty mood-lifter, with Hempton warm and coaxing until he interlocks the changes through shifts of tempo and register. His investigations take on a probing network of ideas that are shared by pianist Art Hirahara, who helps define the moment.
Hempton is not content with letting one germane feel nestle in the arms of his compositions. He draws different strands that unwind beguilingly, as they do on the swinging "Art is in the Groove," a title that stands in testimony to his music. Hempton cuts deep playing with an assured majesty, while Silberstein echoes the swingan expressive player who keeps his exuberance under control to give the progression a lifting dynamic.
"Carry On Up the Blues" is another fiery burst. Hempton is in bop mode, his prowess evident as he creates tension and releases it just lightly before he winds it all again; a powerful display that never slips out of its logical extensions. With Silberstein harmonically compact and drummer Dan Aran adding brisk rhythm swishes, things takes a neat turn into grace before Hempton unleashes the final charge.
"Gee Baby, Ain't I Good To You" is a delicious serving of slow blues. Hempton winds up the intensity gradually, letting his tone energize his fulminations. He eschews frills, a stalwart exposing the emotional power of the song.
A rhapsodic fervor grips "From Bechet, Byas, And Fats" before Hempton loosens up to swing. His move is seamless and showcases his intuition, but the arrangement has more to offer in bassist Marco Panascia's strong turn and Hirahara's scintillating outing, which sandwich the quartet's churning propulsion.
With The Business, Hempton turns out another top notch recording that underlines his virtuosity.
Track Listing: Flapjacks In Belo; Art Is In The Groove; Gee Baby, Ain't I Good To You; Press One For Bupkis; From Bechet, Byas, And Fats; Encounter At E; Cold Spring Fever; Not Here For A Haircut; The Wading Game; Carry On Up The Blues.
Personnel: Nick Hempton: saxophones; Art Hirahara: piano; Marco Panascia: bass; Dan Aran: drums; Yotam Silberstein: guitar (2, 7, 10).
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.