Tag Archives: Patrick Newbery

Temporary Fault review by Massimo Ricci

A Pair Of Not So Recent Clean Feeds
With many more to come (…). This makes me think that roundup reviews are not so useful after all. In the future I won’t wait for publishing a write-up until having listened eight CDs of the same label. It’s probably better to break them in smaller groups, or it could take years…

TRINITY – Breaking The Mold (CF 139)
A Norwegian quartet mingling dissimilar influences – jazz, space rock, harsh electronica – through predominantly jarring procedures that could appear scarcely lucid on a first try, but instead let slip a substantial degree of imagination. Ultimately, and most important, Trinity don’t sound like anything else (at least in the Clean Feed catalogue). All the four members have gone through the most disparate kind of collaboration: Jaga Jazzist to Mats Gustafsson, Raoul Bjorkenheim to Nate Wooley, the leader – saxophonist and clarinettist Kjetil Møster – a metal rock bassist in his past, before switching to reeds. Implausible yet efficient solutions abound, powerful sax blasts juxtaposed with half-ethereal, half-acrid atonal keyboard fluids (Morten Qvenild) that possess the rare gift of not sounding like an amassment of presets. The “rhythm section” – bassist Ingebrigt Håker Flaten and drummer Thomas Strønen – is in actuality half of a palette where abstraction, violence, rituality and persuasive soloing succeed, seemingly in lack of a definite compositional planning. The complete nonexistence of ambassadorial accents and inconclusively politic neutrality typical of a fat chunk of contemporary jazz brings the whole to an acceptable balance, though. After a couple of spins one realizes that these bizarre sonic concoctions cannot be filed in the archive of banality, despite the difficulty of welcoming them with real infatuation. In any case Trinity deserve attention, if only for their different sound and explorative curiosity.

HERCULANEUM – Herculaneum III (CF 140)
Given the presence of a flute (Nate Lepine) and the album title, one would think about Focus. But this record is more like a finely detailed replica of certain past atmospheres involving medium-sized jazz combos and larger orchestral entities, the music skilfully devised in absolute respect for the tradition, lush arrangements and extensive solo sections alternated with sapience and sensitiveness. The large part of the tracks were written by drummer and vibraphonist Dylan Ryan, which might appear as an oddity but it’s not, the music possessing indeed an effervescent pulse that animates scores where, in some circumstances, the tremendous contrapuntal richness might induce someone to think to relative sluggishness. In that sense, David Mcdonnell (alto sax, clarinet), Nick Broste (trombone) and Patrick Newbery (trumpet and flugelhorn) provide a significant miscellany of non-invasive colloquialism and management of virtuosity, gratifying the ears with a melange of piquancy and obedience. Guitarist John Beard’s clean-toned rationality and bassist Greg Danek’s solidly corpulent presence complete an ensemble that consider revolution a dated concept while trying to revolutionize behind-the-times music. One can’t help but admit that listening to this attempt equals a lovely chat with a beautifully aged woman; even lovers of Frank Zappa’s The Grand Wazoo could find something palatable here. Good stuff.
http://temporaryfault.blogspot.com/2010/01/pair-of-not-so-recent-clean-feeds.html

All About Jazz review by Nic Jones

Herculaneum – Herculaneum III (CF 140)
In some respects what we have here is music that’s a step on from Jimmy Giuffre’s work in the 1950s, but if it’s the chamber music notion that unites the two bodies of work across the intervening half-century, it’s clear that this band marches to a rhythmically more vigorous aesthetic. The music is at times alive with a kind of tensile energy that similarly invalidates the Giuffre comparison, but what unites the two is a sense of exploration, of goals ill-defined and thus made all the more worthy of pursuit.
As much as anywhere else, this comes across on “Prosecco/mcv,” where looseness of rhythmic input is perhaps more compelling than the solo voices, especially when an off-kilter unison passage has the effect of forewarding David McDonnell’s alto sax solo. He’s clearly fired by what’s going on around him, though not to the extent that he resorts to screaming through his horn. The resulting collective fire is a refreshing one.

“Mahogany” has trace elements of the quartet Paul Desmond had with Jim Hall; the lyricism that was always a hallmark of that group is here in shades, but in his solo, guitarist John Beard favors a harder, less harmonically oblique approach than Hall.

Echoes of time-honored West Coast tropes are rife on “Egyptian Femme,” although in this case it’s the more abstract work of some of Shelly Manne’s groups that hold sway. This doesn’t matter anyway as such is the nature of the music these days that perhaps that represents one of the many avenues less explored.

The ensemble’s balance is best exemplified by “Red Dawn,” where the underlying anxiety of the line is offset by the deft handling of material. The chorale of the horns serves as a jump-off point for improvisation on the part of both McDonnell again on alto sax and trumpeter Patrick Newbery, whose sometimes quasi-militaristic phrasing conjures up the parade ground at some even more dystopian point in the future.

“Eyeball” is the piece least accommodating with the past. Meter is largely abandoned at first, in favor of vaguely ominous washes of sound, before things settle down in a less abstract vein. Again the horns serve a kind of choral purpose which sets them at odds with the rhythmic momentum, but the resulting tension, never resolved as it is, affords the soloists the greater freedom. http://www.allaboutjazz.com/php/article.php?id=34763