Northeasterners; trumpeter John Allmark, woodwinds ace Dan Moretti and trombonist John Wheeler recently reunited to record their inaugural release. Hence, no underlying agendas here, as the band pursues a ”Tower of Power” style funk-groove chart on the opener “From the One”, which is all about 70’s style, tightly coordinated unison horn arrangements atop crisp beats and radiant soloing, amid keyboardist Ben Cook’s judicious injections of harpsichord and Fender Rhodes-based motifs.
The ensemble renders blaring, reverb-laden horns for the intro of the Afro-Cuban tinged, “Have You Met Miss Jones.” With this piece, the band toggles between Latin rhythms and straightforward medium tempo swing vamps as the soloists’ offer varying perspectives via multicolored tonal shadings in conjunction with drummer Vinnie Pagano and bassist Bill Miele’s booming patterns and shifting currents. Meanwhile, the musicians’ straightforward yet atmospheric rendition of the always-delightful standard, “People Make The World Go Round” offsets some of the bold, brash pieces, also featuring Bruce Bartlett’s beefy electric guitar work. Sure, the band’s palate does not suggest anything in the way of a groundbreaking musical revolution, yet - The Psychic Horns’ - refreshing approach and nicely orchestrated arrangements speak volumes. Recommended.
Track Listing: From The One; 91; Trippin'; Have You Met Miss Jones; People Make The World Go Round; Monday Night At Amsterdam's; Rudy
Personnel: John Allmark; trumpet: Dan Moretti; woodwinds: John Wheeler; trombone: Ben Cook; keyboards: Bruce Bartlett; guitar: Vinny Pagano or Marty Richards; drums: Guest artist: Bob Bowlby; baritone sax.
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good
I was first exposed to jazz when I discovered that one of Jimi Hendrix's influences was Wes Montgomery. I played guitar growing up and idolized Hendrix, so I knew that anyone he looked up to must be good. I was 16 at the time. I went to Tower Records and purchased a CD by Wes, and I was hooked from the very first ten seconds. The sound of the song Lolita illuminated my bedroom, as I just sat back amazed at how colorful and soulful this music was--I understood it, even though at the time I didn't understand how to go about playing it. I get chills listening to Wes' solo on Lolita, and I can still listen to that song ten times in a row and never get tired of it. There is a truly timeless quality to genuinely spontaneous jazz music, and it is that quality that has inspired me to devote my life to studying and playing this music.