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Trombonist Reut Regev moved to New York City from Israel in 1998, and soon began working with Anthony Braxton, Frank London and Butch Morris. Her newest band is R*Time, a quartet that concentrates almost entirely on her original material. She is joined by drummer Igal Foni, bassist Brad Jones and guitarist David Phelps, the latter employing a large range of mood-altering effects boxes. Percussionist Eddie Bobé guests on two tracks.
The opening "Swill" establishes the album's highly pneumatic hectic urban bustle, busily driving into a dramatic theme. Regev is a staccato attacker, playing detailed constructions at high speed against a backdrop of sour guitar riffing and wildly skittering drums. The division is sometimes smeared between so-called jazz solos and a jamband-style propulsive motion. Melody is often taken for a loosened solo run, while solos might contain more than the usual amount of tune content. On "Hula Hula," Regev glides smoothly over a bouncing-bomb groove, but can switch in an instant from gentle enunciation to a brashly blasting outburst. "Nutcase Scenario" offers expressive space for the drums and guitar, with the latter taking on a sitar shimmer for "Balibalaila."
There are stretches where Regev sounds similar to Bruce Fowler with Captain Beefheat's Magic Band, particularly when she's cart-wheeling around a Phelps scratch-riff. "Clean Dirt" is somehow reminiscent of a Charlie Haden atmosphere, followed by the disorientated King Crimson pugilism of "True Story."
Track Listing: Swill; Hula Hula; Nutcase Scenario; Balibalaila; Some Of The Best Fish Are Alive; Faradise; Elephant Steps; Clean Dirt; True Story.
Personnel: Reut Regev: trombone, flugabone; Igal Foni: drums, percussion; Brad Jones: acoustic and electric basses; David Phelps: guitar; Eddie Bobé: guest percussion.
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 ...