Daily Archives: January 25, 2008

DMG review by Bruce Lee Gallanter

This superb disc was recorded right here at Downtown Music Gallery exactly one year ago last week (January 14th, 2007). Although I was in attendance, this disc sounds even better than I remember and is captured closely and cleanly. I’ve always been a fan of the two bass thing, from Coltrane albums in the early sixties to Soft Machine ‘Four’ in 1971. Here, we again fine two master acoustic bassists playing with the strong toned tenor of Mr. Gauci and the ever-inventive trumpet of the ubiquitous Nate Wooley. Right from the opening note, both bassists are plucking deep notes together. Soon, Steve’s exceptional, haunting and unique tone emerges. Wow, what a sound he has! Both bassists spin and blur their layers of notes. Nate Wooley soon enters and sounds marvelous on his quick, calm muted trumpet. The balance of Steve’s thick, immense tone with Nate’s thinner, yet equally diverse array of notes is somehow perfect. There is a constant stream of ideas by both horns and both bassists that are inter-connected and blend into a flurry of riveting activity. What amazes me is that there is an ongoing story and communion between all four players as each contributes to the flow or directs the stream into another area. There is an incredible duo section that takes place about 9-minutes into the first piece between the trumpet and one bassist, slowly the other bassist takes over pushes the thread in another (connected) direction. Soon after the trumpet lays out, Gauci’s tenor comes in and slowly builds to a powerful solo. I soon notice that Nate never really stopped, he switches to breath-like, radiator-steam flutters, that add shades and shadows almost imperceptibly. When the bassist on the left starts bowing, it is as if the heavens have parted and the sun is shining down on us. Holy sh*t! This entire nearly hour disc is filled with grand moments like this, so why wait to make your life even richer?!?

All About Jazz by Troy Collins

Tony Malaby / William Parker / Nasheet Waits – Tamarindo CF 099)
Saxophonist Tony Malaby is rapidly becoming one of the most impressive artists of his generation. With a resume including memberships in Charlie Haden’s Liberation Orchestra and Paul Motian’s Electric Bebop Band, he has gone from ubiquitous to acclaimed, seemingly overnight. Tamarindo features Malaby fronting a powerhouse trio of his peers, including bassist William Parker and drummer Nasheet Waits.

Malaby’s assured tone, rich melodic sensibility and adventurous outlook have endeared him to such notable New York bandleaders as Mario Pavone, Marty Ehrlich and Mark Helias, making him a key player in the Downtown scene. His early solo efforts for Arabesque, Songlines and Sunnyside hinted at his potential, but Tamarindo surpasses them all.

A diverse tenor stylist, Malaby merges the hushed, breathy focus of Joe Lovano with the fervent passion of Coltrane and Shepp—an equal mix of unbridled passion and technical facility. In addition to his usual tenor, Malaby doubles on soprano. His singing tone on the smaller horn ranges from the dulcet quality of a flute to the biting roundness of an alto, sliding between extremes on “Mother’s Love.”

William Parker needs no introduction, his outstanding bass playing and leadership skills are legendary. Expertly balancing his role as harmonic and rhythmic lynchpin with his own conversational contributions, he veers from hypnotic ostinatos to soaring bowed tones; his arco playing is especially pungent.

Although best know as the primary drummer for pianists Jason Moran and Fred Hersch, Nasheet Waits has demonstrated an expansive reach, recently touring as a duo with German saxophone terror Peter Brotzmann.

Together these three play a mix of fluid, ever evolving tunes. Their attentiveness to endlessly modulating rhythmic shifts, textural dynamics and emotional expression borders on the telepathic.

“Buried Head” reveals a wealth of emotion, opening the album with an epic arc; building from quiet, pensive restraint to frenzied abandon, eventually winding down again. Navigating myriad harmonic twists and turns over expanding and contracting meters, the trio ascends to a climax of rolling drums, pummeling bass and spiraling soprano before Malaby’s multiphonic tenor flurries lead the way to a somber coda.

“La Mariposa” and “Mother’s Love” demonstrate the trio’s dynamic sensitivity, playing soft, whispered tones and subtle harmonic accents with graceful finesse. Parker’s arco bowing is lyrical and intense, more restrained than his acerbic attack on “Floral and Herbacious” where his strident, cacophonous shards are accented by Waits’ martial salvos.

The title track knits a folksy sing-song melody with Coltrane-esque passion as the trio collectively cries out with jubilant frenzy. “Floating Head” spotlights Malaby’s reedy tenor smears as he soars over Parker’s sinewy Latinized vamp, snapping his strings against the fretboard with visceral glee, while Waits juggles multiple meters, subdividing the syncopated rhythms with a fluid pulse.

A superlative trio session featuring three artists at the top of their game, Tamarindo is Malaby’s finest moment on record yet.