Consummate professionals, guitarist Dave Stryker and saxophonist Steve Slagle continue to raise the bar of instrumental interplay with The Scene. This pair eschews gimmickry for chops and produces some of the best post-bop anywhere. Joe Lovano, himself one of the busiest and best tenor saxophonists around, joins them again, as he did on their previous release, Latest Outlook (Zoho, 2007).
Along with this powerful frontline, a rhythm section of bassist Jay Anderson and Victor Lewis on drums and the music's compositional strength turns what would otherwise be a good collaboration into a great one. Take, for example, the opening "Skee"dedicated to the late bassist Dennis Irwinon which Lovano and Slagle blend beautifully against a hypnotic rhythm, or Slagle's tribute to his late brother, "Hopewell's Last," a gorgeous soprano (Slagle)/tenor (Lovano) showcase.
The aptly titled "Kindred Spirits" finds Stryker breaking out his acoustic to dovetail with Slagle's alto and Lewis' superb cymbal work, while Roland Kirk's "Fingers In The Wind" pairs an understated acoustic guitar with flute for an arrestingly melodic interlude. "Strikology," with bop chops emerging fore and aft, closes out another strong effort from the Stryker/Slagle Band.
Track Listing: Skee; The Scene; Six Four Teo; Two Sense; Kindred Spirits; Hopewell's Last; Brighter Days; Fingers In The Wind; Strikology.
Personnel: Dave Stryker: guitar; Steve Slagle: alto and soprano sax, flute; Jay Anderson: bass; Victor Lewis: drums; Joe Lovano: tenor sax (1, 3, 6, 7).
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.