The first half of The Fisherman, by Austin, Texas-based guitarist Darin Layne, is steeped in laid-back folksy jazz-like articulations, awash with wistful lines and quaint melodies. Layne's rhythm section is firmly nestled in-the-pocket to complement his deft and angular phrasings. On "See Five, the guitarist executes dreamy lines and ascending choruses amid his artful use of volume control techniques. Echoes of vintage Pat Metheny come to mind here, but he goes for the slam dunk during the second part of this session, dissecting the blues, cranking his sound up and varying the overall pitch on the upbeat "K.B.
Layne's meticulously crafted progressions convey sensitivity to the inherent frameworks of his comps. But he soars into the red zone during "Whippit, as he employees a wah-wah pedal with fuzz-toned distortion. Elsewhere he solos atop buoyant funk grooves, letting it rip on "Break Me. Nonetheless, it's a nicely-balanced set from an artist who knows how and when to pick his spots. And it's easy to discern why his work has been featured on TV and in film. In sum, Layne shrewdly melds chops and poise with a sophisticated approach, all firmed-up by the rhythm section's compassionate support.
Track Listing: Spinning; Away; The Fisherman; Chayenne; Early Morning; See five; What Is There?; Big Fatty; K.B.; Mixbreathe; Whippit; Candy Girl; Break Me; West.
Personnel: Darin Layne: guitar; Chris Maresh: bass; J.J. Johnson: drums; Mike Longoria: drums; Rob Kazenel: drums; Jason McKenzie: drums.
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.