Tone! Tone! Tone! When will other musicians understand that the personal sound of a musician is what makes an artist. The trap of mindless chops has made many a student and professional succumb to anonymity, where a unique voice will always capture a legion of admirers. Here are two fine examples of sound.
With Eric Alexander and Vincent Herring in the front line, where there was Smoke, there was fire, with a cooking quintet that included Mike Ledonne/p, John Webber/b and Carl Allen/dr during a gig at the NY club in 2011. Alexander’s got one of the best sounds on tenor: high in cholesterol, like a steak at Gorton’s and Herring’s spicy alto is the perfect complement here. Ballads show the strength of each reed player, as Alexander caresses “Mona Lisa” like the Louvre, and Herring glides through an evocative “Timothy.” Some exciting sparks fly on the bopping “Dis Dis” while some soul is served on a clever “Sukiyaki.” The themes go from blues to hard bop to modal without skipping a beat, creating a solid night of el fuego.
Speaking of sound, trumpeter Wallace Roney has the unenviable curse of uncannily resembling vintage Miles Davis. Like Sonny Stitt and Parker, Paul Quinechette and Prez, Roney has had to make the best of a Siamese Twin situation. He has succeeded throughout his career by adding a supporting cast of his brother Antoine/ts-ss and a collection of keyboardists that frame his playing. The material veers from ESP-era Miles (“Utopia”) to moody pieces with melancholy keyboards (“Dawn” and “Home”). Roney’s horn is crystal clear, and his melding with brother Antoine as on the indigo “Evolution of the Blues” is spot on. Everyone gets a chance to open up a bit, even ward gets an entire tune on the closing “Revive,” but it’s Roney who hits a home run on a haunting take of “Ghost of Yesterday.” Timeless music and sweet treatments for the ears.
High Note Records