Tag: Renovations

lucidculture.wordpress.com

Last summer, jazz saxophonist Doug Webb released an entertainingly trad album titled Midnight. This new one, from the same session, is called Renovations. If we’re in luck, maybe we’ll live to see them reissued together as Midnight Renovations. Intriguing title, huh?

This one is a lot more upbeat, occasionally pretty intense. Buckle your seatbelt – bet you’ve never heard as energetic a version of Satin Doll as the one that has the band jumping out of their socks as animatedly as they do for seven minutes and change here. Besides Webb on tenor, there’s Joe Bagg on piano,Stanley Clarke on upright bass and Gerry Gibbs on drums. Larry Goldings’ casually rippling, summery piano provides an apt backdrop for the languid soprano sax lines on a swaying midtempo verison of Then I’ll Be Tired of You – and his organ background comes through fluid and concise, a long solo taking everything up to a crescendo that holds back just thisshort of joyous. An especially amped version Vernon Duke’s hit I Can’t Get Started, from the long-forgotten film Follies of 1936, has Webb charging hard alongside Mahesh Balasooriya’s express-train piano.

With Goldings manning the throttle again, a tensely swinging I’ve Never Been in Love Before contrasts with Webb’s long, comfortable runway landing, and then brings in some genial blues with the piano. They take Nat Cole’s You’ve Changed doublespeed at just the right random moment; Gershwin’s They Can’t Take That Away from Me, the bluesiest tune here, is also unsurprisingly the most rustic.

Toots Thielemans’ Bluesette is reincarnated, stripped down to what’s basically a rapidfire two-chord jam, Webb’s soprano sax taking a clarinet-like tone, Balasooriya spinning off some wildfire cascades to Webb who takes them even higher: it’s a triumphant pinnacle in an unlikely setting, more than hinting at how much further outside they might be capable of going if they went on longer. The album’s closing cut, Henry Mancini’s Slow Hot Wind – now there’s a title for the moment, huh? – is sort of the mirror image of that, slowly pulsing and sultry, with a geniunely fluid, relaxed solo by Clarke where he doesn’t overvibrato it, Webb’s tenor pushing the caravan along with a stream of eighth notes, Goldings’ dynamics refusing to let the suspense go too far one way or another, Webb finally joining him and they tumble into the vortex. It’s another welcome out-of-control moment – Lisa Simpson, eat your heart out. If you’re wondering what that’s all about, Webb voices her sax parts on the tv show. This one’s out now on Posi-tone.

 

allaboutjazz.com

April 24, 2009 was a busy day for saxophonist Doug Webb, his fellow musicians and the production team at North Hollywood’s Entourage Studios. Recordings from that day have already been released on the excellent Midnight (Posi-Tone 2010): now Renovations delivers more music from the session, and very welcome it is, too.

As with the previous recording Renovations features the core trio of Webb, bassist Stanley Clarke and drummer Gerry Gibbs on a collection of jazz standards, joined on each track by one of three guest pianist. Larry Goldings had equal credit on the sleeve of Midnight, appearing on five tunes, but on this album he shares the piano work more equally with Joe Bagg and Mahesh Balasooriya.

The tunes, as before, are familiar—overly so, perhaps—but the band is so stylish and inventive that each tune seems more like an old friend from way back than a relative who’s overstayed a welcome. The band is tight, melodic and richly-toned, treating these standards with respect, but also with an almost boyish enthusiasm. Clarke’s bass playing seems especially strong and inventive, whether driving hard on Toots Thielemans’ “Bluesette” or taking a more measured and gentle approach on Henry Mancini’s romantic “Slow Hot Wind.”

Duke Ellington and Billy Strayhorn’s “Satin Doll” is taken at a terrific pace, its usual seductiveness replaced with excitement and verve, both of which are epitomised by outstanding solos from Bagg and Clarke. Arthur Schwartz’ “Then I’ll Be Tired Of You” swings gently thanks to Clarke and Gibbs: Goldings’ piano and Webb’s alto saxophone share the lead line, both playing with a delicate grace. Frank Loesser’s “I’ve Never Been In Love Before” is introduced by Goldings’ Monk-like piano. Underpinned by Gibbs’ brushed shuffle beat, it features another rich bass solo from Clarke as well as lyrical and flowing solos from Webb and Goldings.

Renovations closes with “Slow Hot Wind,” Webb’s saxophone and Goldings’ piano both lending the tune a late-night feel. It’s a stylish end to the second set of tunes from that April day.

www.allaboutjazz.com

Doug Webb, a seasoned saxophonist who is equally comfortable recording soundtracks in studios or swinging on a bandstand, teamed up with heavy hitters like bass legend Stanley Clarke and pianist Larry Goldings on Midnight (Posi-Tone, 2010). That collection was an expertly crafted, all-standards affair, and the eight classic tunes that make up Renovations were culled from the same session.

While it might be easy to assume that these are second-tier, inferior performances that didn’t make the cut for Midnight, that isn’t the case. Webb starts off the program with a version of “Satin Doll” that’s anything but a rote run-through. This arrangement shakes the very harmonic foundation of the song as it modulates upward while Webb works his way through the melody. “Then I’ll Be Tired Of You” is often associated with singers rather than instrumentalists, but Webb makes a good case for adding this one into the regular saxophone repertoire. Clarke controls the momentum on “I Can’t Get Started,” while “I’ve Never Been In Love Before” proves to be an album highlight. Goldings kicks this one off with a tumbling, semi-Thelonious Monk-ish distillation of the theme. Webb exhibits a velvety tone and Goldings delivers a solo that starts with simple, yet effective, single note lines in the upper reaches of the piano.

“You’ve Changed” is classy balladry that, while delivered with style, overstays its welcome a bit. Webb’s slithery saxophone work on the sans-drums performance of “They Can’t Take That Away From Me,” and his frantic soprano saxophone flights on the back end of “Bluesette” help to re-energize the album. By the time Webb arrives at the album closer, Henry Mancini’s “Slow Hot Wind,” he has nothing left to prove, and he spins out seductive, sleek saxophone lines that leave a sense of mystery and intrigue hovering in the air.