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)
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone
Jazz and the blues--because together this musical brother and sister speak from our nation's days of the current cultural affairs and the authenticity and truth of a place where the rhythms held the pulse and the drums the heartbeat, representing every step closer the meat on the bone. Feet in the dirt, or barefoot on a stage with sequins--it's soul beats in my chest.
I was first exposed to jazz while others listened to surf music in the '50s and '60s, it was Monk, Miles, Satchmo and Ella, Rosemary Clooney and Julie London followed. Margaret Whiting, Les McCann, Willie Bobo, Andy Simpkins, Snooky Young, Bill Basie and Helen Humes. The first time I heard Topsy, Take 2, I about passed out at the age of ten.
I've hung with Les McCann who more than 30 years after our first meeting became my duet partner on my CD, Don't Go To Strangers. Karen Hernandez from the start, Jack Le Compte on drums, Lou Shoch on bass, Steve Rawlins as my arranger and pianist, Grant Geissman - guitar genius, Nolan Shaheed, Richard Simon, and more. The big boys. My Red Hot Papas. The best show I ever attended was...
I met Helen Humes first back in 1981 and helped turn one Playboy Jazz Festival night into her tribute, bring the Basie Band to stage, her joy boys. Before she took the stage for the last time to sing, If I could Be With You One Hour Tonight thousands of copies of the newspaper I wrote for carried her story. It was kismet, her being held by Joe Williams backstage. Soon in my life were the great Linda Hopkins who told me I sang the song she wrote better than her, which floored me of course, the energizing Barbara Morrison and the stellar Marilyn Maye who guided me professionally.
My advice to new listeners... let your backbone slip and feel your body stripping back the barriers that prevent us from being one with the music.
Remember none of us are strangers, we just haven't met yet.