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| 3.700 Ft
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| 1. | Making Ends Meet
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| 2. | Sweeping Up
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| 3. | Chelsea Bells
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| 4. | Some Echoes
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| 5. | Ladies in Mercedes
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| 6. | Hullo Bolinas
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| 7. | I'm Your Pal
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Jazz
Steve Swallow (bass guitar)
Ohad Talmor (tenor saxophone); Meg Okura (violin); Greg Tardy (clarinet); Russell Johnson (trumpet, flugelhorn); Jacob Garchick (trombone)
Bassist Steve Swallow is better known as a sideman than a leader, though his work as a composer may be his greatest hidden asset. Long acknowledged as one of the top electric bassists in jazz, a number of his pieces have been recorded with collaborators such as Gary Burton and Carla Bley. But this sextet, jointly led with tenor saxophonist Ohad Talmor, finds new possibilities within these songs, none of which have been widely recorded. The chamber jazz sextet assembled also includes trumpeter Russ Johnson, violinist Meg Okura, clarinetist Greg Tardy and trombonist Jacob Garchick; throughout the session, the musicians rise to the challenges of the demanding charts. Talmor's arrangements are playful and full of the spirit of adventure. "Making Ends Meet" serves as a graceful introduction, though it quickly grows complex, with a particularly spirited solo by Tardy. Talmor hints at Igor Stravinsky's introduction to The Rites of Spring in his opening solo to the haunting "Sweeping Up," with Swallow exploring the upper range of his instrument. Garchick comes to the forefront in the intricate scoring of "Chelsea Bells." The low-key arrangement of "Some Echoes" creates a bittersweet, somewhat mournful mood. The last three songs are some of Swallow's most recognized works, since all of them date from his years of working with Gary Burton. "Ladies in Mercedes" is no longer a straightforward jaunt down the highway but a musical trip with many detours into playful neighborhoods. The tenor saxophonist opens "Hullo Bolinas" unaccompanied, yet as the band joins him, the piece has only a passing resemblance to its original conception. "I'm Your Pal" is turned topsy-turvy, while adding fine solos by Swallow, Talmor and Johnson. Longtime fans of Steve Swallow will be delighted with this fresh look at his still underappreciated work as a composer.
---Ken Dryden, All Music Guide
Steve Swallow
Active Decades: '60s, '70s, '80s, '90s and '00s
Born: Oct 04, 1940 in Fair Lawn, NJ
Genre: Jazz
Styles: Post-Bop
Steve Swallow has long been many jazz critics' favorite electric bassist, for rather than playing his instrument in a rock-oriented manner, Swallow emphasizes the high notes and approaches the electric bass, to an extent, as if it were a guitar. He originally started on piano and trumpet before settling on the acoustic bass as a teenager. Swallow joined the Paul Bley trio in 1960 and with Bley was a part of an avant-garde version of the Jimmy Giuffre 3 during 1960-1962. Swallow recorded with George Russell and was a member of Art Farmer's quartet (1962-1965), Stan Getz's band (1965-1967), and an important edition of Gary Burton's quartet (1967-1970). The latter group (starting with the addition of guitarist Larry Coryell) was actually one of the first fusion groups, and it was during that time that Swallow began playing electric bass; within a few years he stopped playing acoustic altogether. Swallow spent a few years in the early '70s living in northern California during which time he mostly playing locally. After the late '70s he has been closely associated with Carla Bley's groups, although he occasionally works on other projects (including a reunion of the Jimmy Giuffre 3). Swallow has also proved to be a talented composer with "Eiderdown," "Falling Grace," "General Mojo's Well Laid Plan," and "Hotel Hello" being among his better-known pieces. The 21st century saw the release of several Swallow sets, including Damaged in Transit (2003), Histoire Du Clochard: The Bum's Tale (2004), and an intriguing set with poet Robert Creeley, So There (2006).
---Scott Yanow, All Music Guide |
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