| September 28th, 2004 02:43 AM |
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| MarthaMyDear |
Web only column:
Riffs
By Ron Wynn, [email protected]
September 24, 2004
http://www.nashvillecitypaper.com/index.cfm?section=12&screen=news&news_id=35983
Despite his lengthy association with the Rolling Stones, drummer Charlie Watts' first love has always been jazz, particularly swing and hard bop. He's captured in prime form on the new two-disc set Watts At Scotts: Charlie Watts And The Tentet (Sanctuary), an outstanding live date that features his band doing vintage Duke Ellington and Thelonious Monk pieces as well as pre-rock pop standards, one marvelous Latin number and a couple of originals. The instrumental configuration blends brass (two trumpets and a trombonist), reeds (three saxophonists), vibes, piano and bass, with Watts capably assisted on the rhythm end by percussionist Luis Jardim. The group also has one foot in the repertory/tradition end and the other in the experimental/avant-garde wing, led by exceptional tenor and soprano saxophonist Evan Parker, who has long been among Europe's wildest and most unconventional soloists. But he can also play a sweet, soothing soprano when needed and makes a most sympathetic partner to fellow saxophonists Peter King and baritone ace Julian Arguelles. The core horn group, aided by trumpeters Geralde Prescener and Henry Lowther, trombonist Mark Nightingale, vibist Anthony Kerr, bassist Dave Green and pianist Brian Lemon can play rousing jump blues and rollicking swing or can engage in cutting-edge, collectively improvised sections. Watts soars and sails above the arrangements, sometimes barely being heard on cymbals and other times taking explosive, multi-textured drum solos. The set highlights range from the first disc's sturdy opening rendition of Ellington's "Main Stem" through equally engaging covers of Miles Davis' "Little Willie Leaps" and Thelonious Monk's "Bemsha Swing." But the band truly stretches and expands musical boundaries on originals like "Elvin's Song," a 16-minute plus piece with multiple shifts, darting solos weaving in and around excellent foundations being constructed by Watts, Green and Jardim. Their treatment of "Tin Tin Deo" is also wonderful, keyed by fine exchanges and interplay between Watts and Jardim and spiraling solos throughout. The Tentet covers every jazz era from the '30s to the present, simultaneously celebrating and expanding musical traditions in the process.
[Edited by MarthaMyDear] |
| September 28th, 2004 01:57 PM |
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| kath |
yes ma'am. GREAT stuff!!!! |
| September 28th, 2004 07:25 PM |
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| Soldatti |
Great reading |
| September 28th, 2004 07:47 PM |
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| J.J.Flash |
"I'm salivating like a pavlog dog....."..... I'm dying to stuck that in my ears... would be a pleasure.....hmmmmm, how delicious.... Thelonious Monk, wow...... What about Gillespie? THe only thing Jack Flash must learn is to swallow jazz with no guitar.....
"Plug me Ronnie" |
| September 28th, 2004 10:39 PM |
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| corgi37 |
Man, that review is way cool, hep cats. Makes me want to go out and buy it.
Trouble is, i will listen to jazz on the same day i either win tattslotto, or get it together with Brooke Burke. |
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