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| 4.300 Ft
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| 1. | Keep
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| 2. | Take Flight
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| 3. | Walking Up Broadway
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| 4. | Break of Day
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| 5. | Tiger Lily
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| 6. | Adios Buenos Aires
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| 7. | Morningside
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| 8. | B&
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| 9. | Mance&
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Jazz
Recorded December 23 & 24, 2007 at Robert Lang Studios, Shoreline, WA
The Here & Now is:
Tatum Greenblatt trumpet
Ben Roseth saxophones
Drew Pierson piano
David Dawda bass
Sean Hutchinson drums
The Here & Now’s recording debut, Break of Day, is a fresh and delightful romp through melody and time. Drawing deeply from the rich tradition of jazz and pushing forward into other folkloric world musics, the quintet seamlessly weaves in and out of itself, exploring a multiplicity of meters while presenting delicious melodic treats. The band, Tatum Greenblatt on trumpet, Ben Roseth on saxophone and flute, pianist Drew Pierson, bassist David Dawda and Sean Hutchinson on drums, grew up and played together in Seattle, and are still together now, seizing the streets and sounds of New York City.
Engineered by Reed Ruddy
Mixed by Aaron Nevezie at The Bunker Studio, Brooklyn, NY on January 24th and 26th, 2008
Mastered by Paul Gold at Salt Mastering, Brooklyn, NY on April 10, 2008
Band Photography by Vince Gipson
Cover photography by Andrew Cribb
Cover design by John Bishop
Built from Seattle's powerhouse high school jazz programs and refined in the East Coast conservatories, the Here and Now quintet combines a number of elements of their upbringing to form an excellent, cohesive debut album. From the high-end high school ensembles, the players appear to have picked up a sensitivity to the collective -- rather than showcasing their solo talents, they generally prefer to form a unified front: doubling melodic lines, accentuating one another's riffs, casually comping in the background to serve the greater purpose of the ensemble and the song. From the East Coast elements, there's a tendency toward the urban nightclub sound: sounds evocative of city traffic and smoky piano solos. From the Northwest elements, there's the constant focus on the melody, never dropping the form of the song in favor of a solo effect, never moving too far away from the core points of the composition, but ornamenting them just so. The players here all have skill with their instruments, but tend not to go too far with them. However, there are points of interest when they do. In the title track, sax player Ben Roseth lets loose with a solo on the alto that makes one wonder what the band was doing for the previous few tracks -- he runs arpeggios, he twinkles through some scales, and before he's done, he makes the horn squawk like the old jump blues players. In something of a tango, Roseth combines with trumpeter Tatum Greenblatt for a standout marching finale. In "Bête Blanche," pianist Drew Pierson gets to show off a strong, if a bit uneven, solo that develops into strict comping well before its time is up. The quintet is a little rough around the edges still, trying to find a way to package their sounds and talents into a comprehensible form. They're not quite there yet, but what they've put together in this album is promising for future endeavors. Moreover, it's simply a nice listen as it stands.
---Adam Greenberg, All Music Guide |
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