Two Bones is a delightful bop session double-headed by the the smooth trombone playing of Danilo Moccia and Paul Haag. These men are surely two of the best "bone" players in the business; playing with imagination and facility on what is generally agreed upon to be a difficult instrument to master. This is a live date recorded in Europe in 1998 for TCB, a label based in Switzerland whose commitment to excellence, and the preservation of the jazz heritage is evident through a string of recent releases featuring some outstanding European musicians such as saxophonist Andy Scherrer (reviewed in July's reviews), the International Hashva Orchestra, and an ensemble commemorating the music of Duke Ellington. It is wonderful to know that our brothers on the other side of the Atlantic have the fortitude to support and document the American artform.
The set tunes on this date feature some rather well known jazz classics such as Nat Adderley's "Work Song", and Horace Silver's "Song For My Father" as well as some originals by Paul Haag and Isla Eckinger. All the performances are earnest, the rhythm section is tight, and the arrangements are crisp, and well balanced. This ensemble plays music that is very enjoyable to listen to, and draws from an overall excellent collection of material taken from the be-bop and post-bop genres. Continuing proof that our American music is alive and well abroad. Europe: We salute you!
Track Listing: Spiral Stairway; The Healer; Polkadots And Moonbeams; Work Song; Song For My Father; Five Spot After Dark; Bernie's Tune; Blues For Trombone; Patisserie
Personnel: Danilo Moccia (trombone); Paul Haag (trombone); Peter Schmidlin (drums); Isla Eckinger (bass); Tutilo Odermatt (piano)
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.