In an exhausting session of his own compositions, guitarist Tom McNalley leads his trio through vociferous tirades as well as somber dreamscapes. The rise and fall of their passion immerses the trio in searing intensity one momentgentle repose the next. Each of the three artists contributes a confident voice that drives the program cohesively.
With his guitar ablaze, McNalley turns fighter. He scores a knockout punch several times as he rips the air with ferocious streams of descant. Clear and crisp, the technique with which he excites the music carries a powerful message. With emotions bared and fingers flying, he sets fire to each extended piece and doesn't let up.
Bassist Jonas Tauber provides hearty pizzicato thrills as well as graceful arco lullabies. His deep-rooted drive gives the session a strong foundation. Drummer Ken Ollis swirls the room with textural masses. His colors surround the trio's energetic storms and provide firm reassurance.
Together, the trio takes each wave to its crest and trough, moving intuitively from one mood to the next. No specific impressions need be assigned as the three artists pursue their exploration in tandem. It's an intense session, filled with powerful feelings and stretches of the imagination. Musically, the threesome achieves a widespread array of tonal colors in adventuresome combinations. Emotionally, they provide spontaneity and a fiery attack. While not entirely accessible to our more traditional readers, Tom McNalley's trio offers substantial growth in the creative music field and plenty of passion.
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.