Scott Wendholdt - Jam Session Vol.5

Styles: Trumpet Jazz
Year: 2003
File: MP3@320K/s
Time: 62:30
Size: 157,0 MB
Art: Front

( 6:27)  1. Dig
( 8:22)  2. Up jumped spring
( 5:51)  3. Body and Soul
( 8:02)  4. Strikezone
( 4:47)  5. If you could see me now
( 5:57)  6. After Thought
( 4:31)  7. The Duke Ellington Sound Of Love
(10:01)  8. World Wide Web
( 8:27)  9. Onion Straw

The Danish Steeplechase imprint has long recognized the fertile dynamics of jam sessions, fronting the resources for many in its roster of players to convene in just such supportive surroundings. Volumes 5 and 6 in the continuing series offer up vernal combinations and surprises while upholding producer Nils Winther’s credo of “positively no rehearsal.” Volume 5 follows the template of past entries, at least in theory, focusing on a single frontline instrument, in this particular case the trumpet. Earlier volumes, incidentally, have focused on saxophone and guitar. Fortunately Wendholt, Gisbert and Ballou are markedly different stylists on their respective brass and the resulting diversity dispels any sense of homogeneity from the bandstand. The first two players have close ties to the mainstream tributaries of bop and hard bop, while Ballou straddles these strains and also shows a strong affinity for freer forms of improvisation. Laverne heads up the rhythm section with sensitivity and poise, while Anderson and Drummond fulfill their support roles in equally amicable fashion. 

Miles Davis’ “Dig” delivers perfect fodder for the three front men to flex their embouchres and each solos brightly in loose succession. Gisbert’s tart tone contrasts with Ballou’s more rounded note runs, but it’s Wendholt who proves the smoothest of the three, peeling off buttery streams that dance and cavort against the bustling rhythm before a string of expressive exchanges takes the tune out. Freddie Hubbard’s statuesque standard “Up Jumped Spring” serves as well-chosen follow-up, as Ballou and Wendholdt don their mellow ballad hats and blow soothingly through the tune’s demulcent changes. Laverne’s elegant but understated comping acts as accommodating foil. All three also enjoy a tune apiece, individually. Wendholt steps up first, trying his hand at a romance-laden rundown of “Body and Soul,” and the rhythm section shines right alongside him, fitting his solo improvisations like hand in glove. For Gisbert it’s a lovely reading of the Tad Dameron chestnut “If You Could See Me Now.” Reclining on the plush changes, the trumpeter eases back into a solo of measured restraint and makes full use of his instrument’s satin tone. Ballou proves the most adventurous of the three, tackling Mingus’ “The Duke Ellington Sound of Love” and capturing the spirit of both departed composers in the gilded bell of his horn. A pair of Laverne-penned originals provides clever interludes while still fitting seamlessly into the overall programmatic scheme. On “Afterthought” Ballou’s pitch-perfect appraisal of the theme paves a path for the composer’s own brief but beguiling variation and a stately unison close. The somewhat regrettably titled “World Wide Web” belies the triviality of its name through another circle of outstanding brass statements and even a rare solo turn from Anderson. Everything comes together on the closer, Ballou’s “Onion Straw,” a modal tune built on dark structures reminiscent of Andrew Hill’s Sixties work for Blue Note, opening plenty of space for blowing. Trumpet fans take note: this disc is chock full of the sort of spot on playing that the instrument was designed and built for. ~ Derek Taylor https://www.allaboutjazz.com/jam-session-volume-5-various-steeplechase-records-review-by-derek-taylor.php

Personnel: Scott Wendholt- trumpet; Dave Ballou- trumpet; Greg Gisbert- trumpet; Andy Laverne- piano; Jay Anderson- bass; Billy Drummond- drums.

Jam Session  Vol.5

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Andy Biskin - Trio Tragico

Styles: Clarinet Jazz
Year: 2006
File: MP3@320K/s
Time: 63:00
Size: 146,3 MB
Art: Front

(5:33)  1. Boomerang
(6:13)  2. I Should Talk
(5:05)  3. Hey Day
(5:28)  4. Walking Distance
(4:15)  5. I Think Not
(5:18)  6. You That Knew Him
(4:32)  7. Paging Mr. Yes
(2:59)  8. Night Shade
(4:52)  9. Over the Years
(6:10) 10. Top Left Corner
(4:04) 11. Still Busy (the Honk Honk Song)
(5:38) 12. You Who
(2:48) 13. Plaything

Released in tandem with Early American (an exploration of the music of Stephen Foster), Trio Tragico showcases clarinetist Andy Biskin working within the confines of an unconventional chamber-jazz trio. With characteristic wit, the composer delivers an album that is not nearly as melodramatic as the title implies. Biskin enjoys a sublime foil in the rich and classically pure trumpet of Dave Ballou. Ubiquitous Downtown bassist Drew Gress is the fulcrum on which the two horn players pivot. With no drummer present, his lines support not only the pulse, but the principal melody and implied harmonies as well. A mercurial writer and economical improviser, Biskin's sense of humor seeps into his music in subtle ways. While the trio occasionally flirts with melancholy, it never sounds morose. Embracing postmodern irony, but without the cool detached attitude, Biskin and company plot a lyrically poignant course that's unfettered by stylistic conventions.

"Boomerang" opens the album with a solemn refrain, recalling an Old World dirge by blending mournful clarinet, somber trumpet and plangent bowed bass. Suddenly, the tune comes alive; the bass bounds into a brisk walking pattern, launching a jubilant clarinet flight, followed by an equally ebullient trumpet solo. The horns weave a sonorous web, accompanying each other throughout, and Gress takes a brief statement before the collective finish. The baroque-inspired composition "Over The Years" follows a similarly whimsical strategy. Biskin maintains straight-laced classicism, intermittently inserting searing Yiddish doina laments, then just as abruptly returning to the formal structure. The trio generates more than just pleasant melodies; compare the rich harmonies of "Hey Day" to the folksy, see-saw jauntiness of "Walking Distance," with its fractured lullaby ambience. The infectious "Paging Mr. Yes," while outwardly reminiscent of an early two-step, employs shades of an impulsive, Ivesian nature. Biskin's pieces are enigmatic but always accessible, from the gorgeous balladry and Middle Eastern flourishes of "I Should Talk" to sprightly bop pieces such as "I Think Not" and "Plaything." The trio blends subtle improvisation and nuanced group interaction so seamlessly into Biskin's compositions that the dividing line between the two vanishes. With creative arrangements and stellar interplay, Trio Tragico invokes a broad sonic palette, bringing these enchanting pieces to life. Whether exploring tangos, marches, Dixieland, bebop or any number of early American song forms, Biskin's trio handles it all with respect and good humor.~ Troy Collins https://www.allaboutjazz.com/trio-tragico-andy-biskin-strudelmedia-review-by-troy-collins.php

Personnel: Andy Biskin: clarinet, bass clarinet; Dave Ballou: trumpet; Drew Gress: bass.

Trio Tragico

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Dave Ballou - The Floating World

Styles: Trumpet Jazz
Year: 2000
File: MP3@320K/s
Time: 60:58
Size: 140,7 MB
Art: Front

( 8:54)  1. All the things you are
( 6:25)  2. Bronk
( 5:52)  3. Pannonica
( 6:38)  4. Memories of you
( 5:40)  5. Don and Dewey
(10:02)  6. I hear a rhapsody
( 5:46)  7. The floating world
( 7:50)  8. Time remembered
( 3:49)  9. Plan

On his third release, trumpeter Dave Ballou opts for a standard quartet, with George Colligan on piano, Doug Weiss on bass, and Darren Becket on drums. Ballou's original compositions are less prevalent this time around, and a casual glance at some of the titles  "All the Things You Are," "I Hear a Rhapsody" suggests that The Floating World might be more middle-of-the-road than his previous efforts. That's only partially true, as Ballou can't resist throwing curves. His four originals are decidedly left of center particularly "Bronk," which appears early on. His flugelhorn reading of Thelonious Monk's "Pannonica" (sans Colligan) is fabulous, and his trumpet/piano duo rendition of Eubie Blake's "Memories of You" is inspired on a multitude of levels. Other highlights include Colligan's thunderous solo on "I Hear a Rhapsody" and Ballou's melodic insight on the Bill Evans classic "Time Remembered." Despite its low and inconsistent recording level, The Floating World is superb, proving Ballou's ability to say something very different each time he's heard from. ~ David R.Adler https://www.allmusic.com/album/the-floating-world-mw0001170149

Personnel: Dave Ballou - Trumpet; George Colligan - piano, Doug Weiss - bass,  Darren Beckett - drums.

The Floating World

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Andrew Hill - A Beautiful Day

Styles: Piano Jazz
Year: 2002
File: MP3@320K/s
Time: 61:32
Size: 142,4 MB
Art: Front

( 8:19)  1. Divine Revelation
(11:28)  2. Faded Beauty
( 8:43)  3. Bellezza
( 6:42)  4. 5 Mo
( 7:36)  5. New Pinnochio
( 5:50)  6. J Di
(11:44)  7. A Beautiful Day
( 1:07)  8. 11/8

Andrew Hill followed his first Palmetto release, the widely acclaimed Dusk, with this remarkable live album, which was recorded during a three-night run at New York's Birdland in January 2002. Whereas Dusk featured a sextet, A Beautiful Day boasts a large ensemble, billed at Birdland and previous gigs as the Andrew Hill Sextet + 11. Despite a large regiment of horns, Hill's reflective piano figures prominently. Trumpeter Ron Horton relieves Hill of the conducting burden by serving as musical director, managing an arcane system of cues and transitions and keeping all the players, quite literally, on the same page. The band's peculiar methodology yields a wonderfully complex and layered sound, by turns strident and melodious, driven by the sturdy rhythmic backbone of bassist Scott Colley and drummer Nasheet Waits. Jose Davila reinforces the low end with his omnipresent tuba. Amid the fanfare of full band passages, contemplative interludes emerge, with varied and inspired instrumental colorings. Tenor saxophonists Greg Tardy and Aaron Stewart go toe to toe on the opening "Divine Revelation," an older piece, newly arranged by Horton. "Faded Beauty" includes radiant solos by John Savage on flute and Marty Ehrlich on bass clarinet. Horton steps forward to deliver pointed witticisms on "Belleza," baritone saxophonist J.D. Parron gets the floor on the exuberant "J Di," and Hill weaves spiky piano harmonies into the dense structures of "5 Mo" and "New Pinnochio." The epic title track winds down with an enigmatic foray by trumpeter Dave Ballou, who is joined in short order by John Savage on alto sax. With its wide array of available textures and juxtapositions, the big band proves an ideal vehicle for Hill's powerful, unclassifiable music. ~ David R. Adler https://www.allmusic.com/album/a-beautiful-day-mw0000227787

Personnel:  Andrew Hill – piano;  John Savage – flute (tracks 2 & 4), alto saxophone (tracks 1, 3 & 5-8);  Marty Ehrlich – clarinet (track 4), bass clarinet (track 2), alto saxophone (tracks 1, 3 & 5-8);  Aaron Stewart, Greg Tardy – tenor saxophone;  J. D. Parran – baritone saxophone;  Dave Ballou, Laurie Frink, Ron Horton (tracks 1-6), Bruce Staalens – trumpet;  Mike Fahn, Joe Fielder, Charlie Gordon – trombone;  Jose D'avila – tuba;  Scott Colley – bass;  Nasheet Waits – drums

A Beautiful Day

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Ken Schaphorst Big Band - Purple

Styles: Jazz, Big Band
Year: 1998
File: MP3@320K/s
Time: 72:37
Size: 171,6 MB
Art: Front

(12:41)  1. Uprising
( 7:15)  2. With You, Then Without
( 8:14)  3. Blues Almighty
( 7:39)  4. Jobim
( 9:27)  5. Subterranean
( 6:14)  6. Purple
( 5:07)  7. Bats
( 7:09)  8. My Island
( 8:48)  9. Bounce

Unlike some Jazz composers who write unpretentious big–band charts designed to serve as springboards for soloists, Ken Schaphorst approaches the task with soloists in mind but focuses always on orchestral textures and colors, employing improvisation as an integral element in the over all compositional makeup. Instead of playing “outside” the chart with rhythm accompaniment, as is so often the case, Schaphorst’s soloists usually must adapt to its nuances, tailoring their approach to suit its particular needs without sacrificing warmth or creativity. Sometimes it works, sometimes it doesn’t and the outcome rests in every case on the essential magnetism of Schaphorst’s charts. As this is always a matter of personal taste, what is written here should be considered as one person’s imperfect opinion. In brief, I found much of Schaphorst’s new release, Purple, heavy handed and unimpressive. It is only when the composer steps aside and lets things breathe (as on parts of “Job im,” “Bats,” “My Island” and “Bounce”) that the ensemble responds with intensity and emotion. Elsewhere, its best efforts are subsumed by those very components that should lend the session its strength and charisma. While Schaphorst’s purpose is to weave orchestra and soloists into an organic whole, in pursuing it he too often loses sight of the cardinal purpose of Jazz, which is to swing. Purple swings only at times, and those times occur without exception when Schaphorst loosens the reins and lets the musicians gallop at their own pace and in their own direction. The most agreeable solos (trumpeter Gravish, tenor McCaslin on “Bats,” pianist Caine and trombonist Roseman on “My Island,” trombonist Hasselbring, tenor Blake, trumpeter Ballou on “Bounce,” the uncredited trumpet on “Jobim”) are produced under those circumstances. McCaslin is less effective on “Uprising,” Caine likewise on “Purple,” while guitarist Shepik is showy but irksome on “Blues Almighty” and organist! Medeski is on the whole unimpressive. There are some invigorating moments on Purple, but not enough of them to earn this reviewer’s endorsement. Again, that is only one listener’s opinion. ~ Jack Bowers https://www.allaboutjazz.com/purple-ken-schaphorst-review-by-jack-bowers.php

Personnel:  Doug Yates, alto sax, clarinet, bass clarinet;  Jay Brandford, alto sax, clarinet;  Donny McCaslin, Seamus Blake, tenor sax;  Andy Laster, baritone sax, clarinet;  Dave Ballou, John Carlson, Andy Gravish, Cuong Vu, trumpet, flugelhorn;  Josh Roseman, Curtis Hasselbring, Dave Taylor, trombone;  Chris Creswell, bass trombone

Purple

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Steve LaSpina - Play Room

Styles: Jazz, Post Bop
Year: 2006
File: MP3@256K/s
Time: 64:07
Size: 117,5 MB
Art: Front

( 6:56)  1. Play Room
( 9:04)  2. Do The Math
(13:35)  3. Suite: It's Just Crazy-It Never Ends-That Explains It
( 3:19)  4. Melissa
(10:08)  5. On The Run
( 8:51)  6. Ashcroft Avenue
(12:11)  7. Just Because

Juggling a whirlwind schedule as a musician, father and student means that bassist Steve LaSpina is always in constant motion. Play Room is a selection of original compositions that comment on the recent state of affairs in his life. The music is lively, contemplative, playful and always involving. The title cut serves as the album's mission statement, placing avant-garde sensibilities within a bop framework. Dave Ballou and Billy Drewes banter mischievously on trumpet and soprano sax, and Gary Versace barks on the Hammond B-3. The shifting time signatures contribute to the overall feeling of spontaneity.  "Do The Math is a more conventional mid-tempo tune, with LaSpina's pizzicato and Versace's excellent piano complementing each other. The three-part suite ("It's Just Crazy -"It Never Ends -"That Explains It ) begins slowly, with LaSpina's dolorous plucking and measured playing by Drewes and Ballou. The suite gathers steam, then opens the valves to the most straight-ahead playing on the album, highlighted by Drewes' gritty tenor sax.

The album pauses for breath with "Melissa, a heartfelt duet by LaSpina and Versace, dominated by LaSpina's robust pizzicato. Then it's back on the treadmill with "On The Run, where Drewes' fluttering soprano works with Ballou's Harmon-muted trumpet. "Ashcroft Avenue continues the dynamism between Drewes and Ballou (on flugelhorn here), with some splendid piano from Versace. LaSpina's arco on "Just Because sounds like a man explaining why he's down on his luck, with Versace's initially nuanced and eventually spiraling organ serving as a sympathetic audience. And that's the trademark of Play Room: throughout the album the musicians don't seem to be playing their instruments as much as having a series of organized, spirited conversations. ~ Terrell Kent Holmes https://www.allaboutjazz.com/play-room-steve-laspina-steeplechase-records-review-by-terrell-kent-holmes.php
 

Personnel: Steve LaSpina: bass; Dave Ballou: trumpet, fluegelhorn; Billy Drewes: saxophone; Gary Versace: Hammond B-3 organ, piano; Jeff Hirshfield: drums.

Play Room

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Steve LaSpina - The Bounce

Styles: Jazz, Post Bop
Year: 2000
File: MP3@320K/s
Time: 67:36
Size: 156,8 MB
Art: Front

( 7:43)  1. The Bounce
( 6:23)  2. Only Now
( 4:51)  3. My One And Only Love
( 9:51)  4. Seven F
(11:03)  5. Ask Me Now
( 8:28)  6. Let Me Go
( 6:06)  7. I've Heard That Song Before
(13:06)  8. How Deep Is The Ocean

Bassist Steve LaSpina's seventh outing on SteepleChase features Dave Ballou on trumpet and flugel, Billy Drewes on tenor and soprano, Vic Juris on guitar, and Jeff Hirshfield on drums. The leader presents four originals: "The Bounce," based on a swinging bass ostinato; "Only Now," a ballad with beautiful chording from Juris; "Seven F," a medium waltz with mellifluous soloing by Drewes, Ballou, and LaSpina; and "Let Me Go," a free bop tune with multiple tempo shifts and a real romp for the horns (Drewes on soprano). Juris contributes "I've Heard That Song Before," which he plays on acoustic guitar (horns lay out), while LaSpina steps forward with a solo rendition of "My One and Only Love," wringing polyphonic possibilities from his instrument. 

The quintet also explores Monk's "Ask Me Now" and closes with a semi-abstract "How Deep Is the Ocean." Beautiful playing from everyone involved. ~ David R.Adler http://www.allmusic.com/album/the-bounce-mw0001203847

Personnel:  Steve LaSpina (bass);  Billy Drewes (tenor sax, alto sax, clarinet, bass clarinet);  Dave Ballou (trumpet);  Jeff Hirshfield (drums);  Vic Juris (guitar)

The Bounce

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Steve LaSpina Quintet - When Children Smile

Styles: Jazz, Post-Bop 
Year: 1997
File: MP3@224K/s
Time: 65:31
Size: 105,3 MB
Art: Front

( 7:44)  1. When Children Smile
( 8:03)  2. Solar
(10:11)  3. There Is no Moon At All
( 8:47)  4. Under a Spell
( 9:28)  5. Ramblin'
( 5:01)  6. Cosenza
( 8:44)  7. Your Heart Alone
( 7:31)  8. Tailspin

This is an impressively thoughtful offering from a bassist often found in the company of thoughtful musicians. As a bassist, LaSpina evokes a wonderful sound, bent to the task by a solid time concept and intonation. That his understanding of the instrument is comprehensive comes through loud and clear on his solo on the CD’s final tune, “Tailspin,” which includes some very musical excerpts from the book of unorthodox techniques. His supporting cast is led by guitarist Vic Juris, who always seems to find an original route through any piece, with Dave Ballou on trumpet, Billy Drewes on tenor and soprano sax, and Jeff Hirshfield on drums rounding out the band. LaSpina’s half dozen compositions carry us through a range of musical and emotional scenes, and the interpretations of Miles’ “Solar” and Ornette’s “Ramblin'” are fresh in both conception and execution. ~ Bill Bennett https://jazztimes.com/reviews/albums/steve-laspina-when-children-smile/

Personnel: Steve LaSpina – Bass;  Dave Ballou – Trumpet;  Billy Drewes – Saxophone;  Jeff Hirshfield – Drums; Vic Juris – Guitar.

When Children Smile

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Harold Danko - Prestigious: A Tribute to Eric Dolphy

Styles: Piano Jazz
Year: 2001
File: MP3@224K/s
Time: 69:33
Size: 111,5 MB
Art: Front

( 7:08)  1. Les
( 4:01)  2. 17 West
( 9:15)  3. Gw
( 9:35)  4. 245
( 5:20)  5. Far Cry/Out There
( 8:41)  6. Serene
( 7:32)  7. Miss Ann
( 7:37)  8. The Prophet
(10:19)  9. Number Eight (Potsa Lotsa)

This ambitious quintet session led by pianist and arranger Harold Danko covers ten compositions by the late Eric Dolphy, whose works have only been recorded on a sporadic basis since his death in 1964 and rarely, if ever, make up an entire release (Jerome Harris' Hidden in Plain View came close). The rhythm section includes bassist Michael Formanek and drummer Jeff Hirshfield, with tenor saxophonist Rich Perry and trumpeter Dave Ballou. Perry has the greatest challenge on the date, as he has to come across as effectively as the composer while utilizing only one instrument versus Dolphy's alto sax, flute, and formidable bass clarinet. Fortunately, the object of the CD is to explore new paths through these pieces rather than attempt re-creations of the original recordings by Dolphy (which would be rather pointless since all of Dolphy's Prestige sessions are readily available). The opener, "Les," captures the excitement of Dolphy's version, with the leader darting in and out on piano as Perry and Ballou interweave contrasting lines. Since "17 West" was from a pianoless date, Danko chooses to strum the piano strings throughout the piece, creating an interesting effect behind Ballou's muted horn and Perry's dancing tenor. "G.W." stays much closer to the original, but the group handles its tricky unorthodox line with nary a misfire. "Serene," one of Dolphy's prettiest ballads (which is actually a disguised blues), becomes more spacious and subtle with Danko's change of its meter. "Miss Ann" is almost unrecognizable during its introduction, as the theme is considerably fragmented before Perry and Ballou begin playing snippets of it and quickly bring it into shape. Danko's excellent liner notes add to the value of this worthy tribute to Eric Dolphy, the composer. ~ Ken Dryden http://www.allmusic.com/album/prestigious-a-tribute-to-eric-dolphy-mw0001892240

Personnel: Harold Danko (piano); Rich Perry (tenor saxophone); Dave Ballou (trumpet); Jeff Hirshfield (drums).

Prestigious: A Tribute to Eric Dolphy

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Dave Ballou, Greg Gisbert & Tim Hagans - Jam Session, Vol. 22

Styles: Trumpet Jazz
Year: 1999
File: MP3@320K/s
Time: 61:51
Size: 143,6 MB
Art: Front

(10:13)  1. One Finger Snap
( 9:54)  2. Like Someone In Love
(12:40)  3. Mamacita
( 2:27)  4. Ballad Medley : Body And Soul
( 2:19)  5. Ballad Medley : Stella By Starlight
( 2:56)  6. Ballad Medley : Angel Eyes
( 9:56)  7. Joy Spring
(11:23)  8. Solar

Trumpeter Dave Ballou is one of the few contemporary players who straddles the line between mainstream or progressive jazz and creative improvised musics. Ballou originally attended the Berklee School of Music in Boston, receiving his bachelor's degree in 1986 before achieving his master's at the University of New Hampshire in 1991. Since graduation, Ballou has been very active on the East Coast scene and in Europe and Japan, playing solo and with small and large ensembles, big bands, and symphonies. He has a small but growing discography as a leader almost exclusively for the Danish-based Steeplechase label. Ballou has worked prominently with Orange Then Blue, Gunther Schuller, Michael Formanek, Maria Schneider, Andrew Hill, Satoko Fujii, Dave Liebman, Sheila Jordan, Joe Lovano, Michael Jefry Stevens, John Hollenbeck, Oliver Lake, Denman Maroney, Nate Wooley, Jacob Garchik, Tom Rainey, Rabih Abou-Khalil, and Andy Biskin. In recent years Ballou has been incorporating electronics into his sound, and has been teaching as an assistant professor at Towson University in Maryland. ~ Michael G. Nastos https://itunes.apple.com/us/artist/dave-ballou/id160815107#fullText

Personnel: Dave Ballou (trumpet, flugelhorn); George Colligan (trumpet, piano); Greg Gisbert, Tim Hagans (trumpet); Darren Beckett (drums).

Jam Session, Vol. 22

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Dave Ballou - Insistence

Styles: Trumpet Jazz
Year: 2007
File: MP3@320K/s
Time: 64:29
Size: 150,3 MB
Art: Front

(6:32)  1. Restraint
(8:56)  2. MF
(7:36)  3. Insistence
(7:51)  4. Upon Reflection
(8:30)  5. Randy Starts
(9:27)  6. Once Round
(8:45)  7. Silly Dance and Coda
(6:49)  8. Finale

For his eighth recording for the SteepleChase label, trumpeter Ballou chose to take on perhaps the greatest challenge of all spontaneous collective improvisation with two musicians he has performed and recorded with before: bassist Michael Formanek and drummer Randy Peterson. Ballou came to the studio armed with written compositions just in case, but as he writes in his liner notes, “during the fourth take of the session…we found ourselves.” That fourth take is the first cut on Insistence, which presents takes four through eleven as recorded. Ballou gave titles to seven of the eight tracks after the session, “Once Round” being the exception only as it related to the predetermined structure, not content, of the piece. Listening to this lucid, well-conceived, flowing music, one comes away amazed that it is indeed freely improvised. “Restraint” features an attractive loping and bluesy melody line from Ballou, who even briefly quotes “It Ain’t Necessarily So” during his delightful solo. “MF,” with its tense, staccato theme, produces a strong, variegated Ballou solo, mixing vocalized bursts and low long-held notes. “Insistence” nearly swings in spots, and Formanek contributes a riveting fleet-fingered solo. “Upon Reflection” has a hymnlike melodic exposition by Ballou, as well as Peterson’s complementary cymbal-dominated support, and builds to a fulfilling climax and release. Formanek’s arco solo and supporting lines elevate “Randy Starts,” as does Ballou’s almost-braying, declarative improv, which never loses melodic substance. A highlight of “Once Round” is Ballou’s re-entry with an almost bagpipe-like sound quality, before bursting out with fat held-notes and then delicate, prodding tones. “Silly Dance and Coda” presents a theme reminiscent of an Ornette Coleman composition, with Ballou making like Don Cherry in his overtones and eerie breathiness. Peterson’s cymbal and drum work during “Finale” are exceptional; his multifaceted approach (check out his marvelous bass-drum accents) is an integral element to the overall success of this piece and the entire CD. This is stimulating, very accessible free jazz by three superb musicians in perfect rapport. ~ Scott Albin http://jazztimes.com/articles/19564-insistence-dave-ballou

Personnel:  Bass – Michael Formanek;  Drums – Randy Peterson;  Trumpet, Composed By – Dave Ballou

Insistence

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