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On this aptly named album, Jason Rigby makes quite an impact. As a composer, he brings in his several musical influences. As a musician, he shows exemplary skill on the instruments he plays, including a wood flute that is used in India.
Rigby keeps his charts open to various styles. For the most part, he feeds his band with the nucleus of an idea that they can flesh and bring to a resolution. The initial notations open out and take several diversions that do not detract from the whole. He gives notice of that right off when "Proximo gets into semblance through the woodwinds. It is at first a soft-toned piece, floating gently in a new wave garb. Mike Holober gradually ups the tempo, but then Rigby breaks loose on the tenor saxophone, cutting out from the earlier pulse and letting structure countenance free blowing.
"Backandforthedness begins in modal form. But then Rigby casts that aside to get into constructed swing, juxtaposing a wail against the grain to bring in a lively element of surprise. His continues to spin adventurous ideas, stamping them and drawing Holober, who comes up with his own lively inventions, into the well of imagination. The Indian flute appears, appropriately enough, on "Mumbai (the city formerly known as Bombay). Rigby uses staccato phrasing before settling down into the melody. The tune is in constant churn; Mark Ferber adds to the atmosphere with sharp accents and a thumping bass on the drums. Together they capture the bustling heat that is the lifestyle of Mumbai.
After a debut like this, one can only look forward with eager anticipation to Rigby's next recording.
Track Listing: Proximo; Turquoise Turkish; Southampton [uk]; Atmospheric; 114; Backandforthedness;
Green of Greens; Mumbai; Christopher.
Personnel: Jason Rigby: tenor, alto and soprano saxophones, bass clarinet, wood flute; Mike Holober:
piano, Rhodes electric piano; Cameron Brown: bass; Mark Ferber: drums, cymbals; Rich
Johnson: trumpet; Lauren Riley: cello; Soo-Kyung Park: flute; Sam Sadigursky, Jason
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 ...