Tag Archives: Tim Vaughn

All About Jazz Italy review by Vincenzo Roggero

Adam Lane’s Full Throttle Orchestra – Ashcan Rantings (CF 203)
Valutazione: 4.5 stelle 
Se la sezione delle trombe è formata da tue tipi come Nate Wooley e Taylor Ho Bynum si insinua il ragionevole dubbio che l’orchestra in questione del tutto “normale” proprio non sia. Se poi il contrabbassista, compositore e leader ha il nome di Adam Lane, una presenza costante “coast to coast ” nei progetti più interessanti della musica improvvisata nordamericana, il dubbio diventa certezza.

Si potrebbe dire che se c’è un elemento, un essenza che pervade con i suoi aromi l’intero lavoro questo sia il blues. Ma non pensiate ad un album di blues o sul blues, sareste clamorosamente fuori strada. Si, è vero, più di una volta la classica struttura della musica del diavolo, qualche cadenza riconoscibile che ci rimanda ad uno stato del profondo sud compare, ma il blues lo si ritrova essenzialmente in quel misto di indolenza ed energia, tristezza e gioia che ne costituiscono la cifra stilistica originale.

Gioia che, come ricorda Lane nelle note di copertina, dovrebbe elevare musicisti e ascoltatori ad un livello assoluto di piacere e divertimento. Risultato raggiunto pienamente, perché il disco combina in maniera sublime il piacere dell’ascolto con la qualità della musica, il battere dei piedi con quello del cuore, il pensiero con l’azione, i lampi geniali dei singoli con la compattezza dell’insieme, la peculiarità della scrittura basata su cellule melodiche imprevedibili e lo sviluppo determinato dall’inventiva degli interpreti.

All About Jazz-NewYork review by Clifford Allen

Adam Lane’s Full Throttle Orchestra – Ashcan Rantings (CF 203)
Bassist Adam Lane began his Full Throttle Orchestra while still calling the West Coast home, as an environment that could bring together his interests in jazz and new music with a punkish energy. Though the term “orchestra” in a traditional sense might be a stretch for this outfit, orchestration – or sound organization based upon internal relationships – is not foreign to Lane’s concepts as a bandleader/composer. Ashcan Rantings is the third Full Throttle disc, and second for Clean Feed Records, and is organized around a decidedly East Coast nexus – trumpeters NateWooley and Taylor Ho Bynum, trombonists Reut Regev and Tim Vaughn, reedmen Avram Fefer, MattBauder and David Bindman and drummer Igal Foni on two discs’ worth of original material. While Lane’s work is certainly informed by tensions and differences, he also gives it a swinging shove, quickly evident following the lush, brass and reed opening to “Imaginary Portrait”. Supple bass and drum lines propel a decidedly buoyant series of loose knots, out of which Regev’s peppery brass sinews emerge. This contrast is further espoused by Wooley’s solo, which moves from crackly feeding-back to Lester Bowie-like bravura and back. “Marshall” deftly plots an Eastern European slink, broad ensemble strokes that remain both weighty and airy, in perfect counterpoint to the clambering openness of DavidBindman’s (Brooklyn Sax Quartet, et al.) tenor and the fluttering delicacy of a duet between Regev and Foni (underpinned by bass, but still a duo). The title track begins with a horsehair-grinding arco solo from the leader and moves into the sort of sludgy rock rhythms (cue distortion) that have occasionally popped up on some of Lane’s other compositions. It’s quite effective when the bassist couples electronic fuzz with Bauder’s splattering baritone work (Surman-like on the gorgeous “Bright Star Calypso”) and the noise buriesthe ensemble vocalizations in a curious textural stew, which is not without buoyancy. A group is only as compelling as its parts and Lane has both clear respect for and interest in the players, giving them space to do what they do.

Paris Transatlantic review by Stephen Griffith

Adam Lane’s Full Throttle Orchestra – ASHCAN RANTINGS (CF 203)
What’s different about this two-disc set that should attract more attention than the previous two largely ignored offerings by this nonet version of Adam Lane’s “orchestra”? Maybe the presence of household names (at least in the miniscule number of households that listen to this music) like reedist Avram Fefer and trumpeters Nate Wooley and Taylor Ho Bynum. Maybe the lack of skronky electric guitars that bolstered the overt Motörhead influences that sent purists scurrying to the safety of their Ken Burns sets (although once the leader has lulled them into complacent acceptance with the lush arrangements on the first disc, he breaks out his fuzzbox midway through the title cut on the second). Or maybe it’s the haunting sense of familiarity of the excellent original compositions, two of which were featured on a prior quartet date Four Corners. Whatever the reason, it deserves your attention.
The Mingus influence was clear in the first recorded incarnation of the group, No(w) Music on Cadence Jazz Records, but, despite the lack of a piano, never has it been more evident than here, whether in the prominent placement of Lane’s bass in the mix or his pugnacious squaring-off with soloists throughout. But the influences are significantly more varied: the opening arrangement of “Imaginary Portrait” recalls the more recent David Murray Octet, and “Desperate Incantations” begins with a South African lilt before Lane prods the duelling trumpets of Wooley and Ho Bynum into a frenzy. “Nine Man Morris” sounds like a large group arrangement of an early Braxton fractured motif until Lane slows things down for a Tim Vaughn trombone feature. Top drawer stuff.

Music and More review by Tim Niland

Adam Lane’s Full Throttle Orchestra – Ashcan Rantings (CF 203)
The spirit of the great bassist and composer Charles Mingus looms large over these recordings, no small feat for a scrappy band of musicians trying to record large scale music in a difficult economic environment. The powerful and well integrated group consists of Lane on bass, Avram Fefer on alto saxophone, David Bindman and Matt Bauder on tenor saxophone, Igal Foni on drums, Reut Regev and Tim Vaughn on trombone and Taylor Ho Bynun on trumpet. It’s a compact and powerful unit that attacks the music with great verve, getting a wide variety of musical color in their palette. The artistic analogy comes through nicely in the opener, “Imaginary Portrait” where lush horns open over bass and drums, before strong trumpet comes to the fore over propulsive riffing. Bass and trumpet have their own section, exploring the dynamics of the music. “Marshal” slows things down with a spare and longing feel to the music. Lane’s elastic bass centers the ebb and flow of the subtle atmosphere. The free-ish and raw “Nine Man Morris” is very exciting, with the group playing the music fast and loose, and the bass providing a pivot point for the swirling horns, notably a killer tenor saxophone solo. As good as that performance is, “House of Elegant” catches them at their peak, with the full band coming out strong on the theme, and then sparking superb sax and trumpet interludes. Lane takes center stage on “Ashcan Rantings” with an excellent bowed bass solo (he takes another on “Sienna’s Slip Jig”) leading the group into a mid-tempo performance on an ominous riff. Grinding electronics distort the music as they delve into a wild and unfettered improvisation. This is a lengthy album, but it never dulls and becomes akin to a fascinating story, unfolding its narrative over time. The octet configuration suits the music perfectly and the band members all go above and beyond in the creation of a wonderful and creative album.

Point of Departure review by Troy Collins

Adam Lane’s Full Throttle Orchestra  – Ashcan Rantings (CF 203)
Adam Lane’s Full Throttle Orchestra has undergone considerable personnel changes since their 2007 debut, New Magical Kingdom (Clean Feed). For Ashcan Rantings, Lane’s original electro-acoustic septet has been replaced by a horn-heavy nonet (saxophonists David Bindman, Avram Fefer and Matt Bauder, trumpet players Nate Wooley and Taylor Ho Bynum, trombonists Reut Regev and Tim Vaughn, and drummer Igal Foni), with the leader’s occasionally amplified contrabass now the sole electronic instrument in the mix. Inspired by his studies with composer Earle Brown (renown for his improvised conduction method), Lane encourages his band members to create spontaneous orchestrations from predetermined melodic and rhythmic cells during thematic development sections, lending a vivacious unpredictability to his traditionally notated charts.

Expounding on his lavish themes and throbbing bass lines with ebullient verve, the band follows Lane’s mantra, espoused in the liner notes: “Regardless of its sonic character, it is music that is meant to be joyful to the ear and uplifting to the soul.” Channeling avant-blues fervor into spirited statements, Lane’s crew uses a variety of mutes and extended techniques in service of raw, soulful expressionism, updating past innovations with a modernistic flair. Lane deftly deploys the musicians, staging numerous cadenzas, duos and trios for soloists to convey their statements in more intimate settings, such as Wooley and Bynum’s coruscating trumpet exchange on “Desperate Incantations” and the expansive title track’s blustery trombone dialogue between Regev and Vaughn.

Clocking in at just over an hour and a half on two discs, the date contains a wealth of sonic diversions, from the austere lament introducing the otherwise jovial opener “Imaginary Portrait” to the jubilant collective coda of the euphonious closer “Bright Star Calyspo.” Although the hypnotic Middle-Eastern modality of “Marshall” contrasts with the regal Ellingtonian voicings that dominate the session, the brooding futuristic title track ranges even further afield, pitting Lane’s squalling, feedback-laced bass against Bauder’s bellowing baritone. Embracing numerous stylistic precedents, the schizophrenic “House of Elegant” juxtaposes avant-garde abstraction and streetwise funk, while the luxurious ballad “Lucia” exudes a different ambience entirely.

Carrying on the big band tradition with genuine conviction and steadfast leadership, Lane establishes himself as part of a continuum that includes such revered bandleaders as Charles Mingus, Muhal Richard Abrams and David Murray. An endlessly revealing set, Ashcan Rantings is easily one of the best records of the year.

Gapplegate Music review by Grego Edwards

Adam Lane Returns with a Rather Stunning “Ashcan Rantings”

Adam Lane Full Throttle Orchestra – Ashcan Rantings (CF 203)
Adam Lane is not only one of the superb bassists of his generation, he is also a formidable composer and bandleader. The latest edition of the large Full Throttle Orchestra and the new 2-CD set Ashcan Rantings (Clean Feed 203) shows all of this in abundance. Full Throttle is a kind of mini-big band with seven horns, bass and drums. Nate Wooley and Taylor Ho Bynam on trumpets and reedmen Avram Fefer-Matt Bauder are probably the best known of the lot, but everybody plays an important role in the proceedings.

Basically the music on this fine set has an out-front Lane as the effectively weighty anchor for all that transpires. There are wonderfully voiced horn lines, spirited ventures into straight-eight, swing, balladic choral, and freetime feels and arrangements that set off and balance the solos in a near-perfect symbiosis.

Everyone clicks, everything works and Mr. Lane gives us an album that exemplifies what contemporary jazz is all about when it’s done right: it’s in turn exciting, accomplished and both well-conceived and in-the-moment. If you buy only ten jazz albums this year, this might well be one you should include on your list.

Time Out Lisboa review by Jose Carlos Fernandes

Adam Lane’s Full Trottle Orchestra – Ashcan Rantings (CF 203)
O novo CD da Full Throttle Orchestra (FTO) é uma desilusão. Não me interpretem mal: é um bom disco. Só que, depois de No(w) Music (Cadence) e New Magical Kingdom (Clean Feed), da FTO não se esperam “bons discos”, mas música que deixa o ouvinte virado pelo avesso e um pouco chamuscado. “Full throttle” significa “a todo o gás” e o septeto do contrabaixista Adam Lane, uma improvável síntese de Charles Mingus e Sonic Youth, estava à altura do nome. As expectativas para Ashcan Rantings eram altas, pois a FTO, inteiramente renovada, alinha agora os trompetistas Nate Wooley e Taylor Ho Bynum (quantos grupos podem dar-se a este luxo?), os saxofonistas Matt Bauder, Avram Fefer e David Bindman, os trombonistas Tim Vaughn e Reut Regev, e o baterista Igal Foni, tudo músicos de elite, quase todos líderes dos seus próprios grupos e quase todos representados no catálogo da Clean Feed.

Todavia, raramente a música de Ashcan Rantings atinge a intensidade, densidade, urgência e tensão das perorações de outrora. E não há virtuosos dos sopros que possam substituir a guitarra vitriólica de John Finkenbeiner, que era um alicerce do som da FTO. Também a escrita de Lane perdeu em foco e originalidade e não é coincidência que os melhores temas do novo disco sejam material “antigo”: “House of Elegant” vem de No(w) Music, “Ashcan Rantings” e “Lucia” foram escritos para o projecto 4Corners. Nas notas do CD, Lane explica que passou a delegar parte da direcção da FTO nos músicos, durante as secções improvisadas – e conclui-se que a democracia participativa deu em frouxidão. Acrescento uma hipótese para explicar a perda de gás: a de Ashcan… ter sido gravado por um grupo “ad hoc”, talentoso mas sem as necessárias horas de rodagem em conjunto.