ANDREW GOULD - First Things First
Outside In Music
Andrew Gould: alto saxophone, soprano saxophone, FX pedals; Steven Feifke: piano, Fender Rhodes, Marco Panascia: acoustic bass, electric bass; Jake Goldbas: drums, percussion; Ioanna Vintu: vocals: Scott Wendholt: trumpet
The Press release makes a big deal out of Gould being a ‘native New Yorker’ and he is a busy jobbing musician, who is at home in a variety of styles. Most recently he was playing in the Wallace Rooney Orchestra’s version of Wayne Shorter’s ‘Universe’, and working with hip-hop produced 88Keys, and with jazz / funk outfit ‘Nuf Said’. Out of this melting pot of musical styles, Gould has fashioned a coherent set of tunes, many of which, he says, were composed in response to the Big Apple.
The first two tracks, ‘The Goulden Ratio’ and ‘Rickshaw’, played in quartet and quintet respectively, have a solid core that reminds me of some of the later bop players. While he name-checks Henderson and Coltrane, his soprano playing also carries a debt to early Steve Lacy and his tenor playing hints at Hank Mobley. None of this is bad company to be in, and it is refreshing that Gould does not seek to imitate any of these players, but is confidently forging a sound that is gently melodic tone with a sharp sense of rhythm. The straight-ahead jazz continues through ballads, like ‘Song for Millie’ and bop-inflected pieces, particularly he mixes with Wendholt’s trumpet (on tracks 2 and 6). Gould also throws in a piece of funk, in ‘Cool off’ with its rimshots, bubbling bass and effect-laden sax playing, and a nu-soul song with hypnotic vocals fro, Ioanna Vintu.
The reason why I mentioned that New York angle was that, given the plethora of artists playing a post-bop sound from there, this is a very different set, both in tone and approach. It is less attention seeking and less innovative than some of these other players, but nonetheless shows a healthy respect for the tradition and a deep commitment to crystal clear saxophone playing.
Reviewed by Chris Baber
Outside In Music
Andrew Gould: alto saxophone, soprano saxophone, FX pedals; Steven Feifke: piano, Fender Rhodes, Marco Panascia: acoustic bass, electric bass; Jake Goldbas: drums, percussion; Ioanna Vintu: vocals: Scott Wendholt: trumpet
The Press release makes a big deal out of Gould being a ‘native New Yorker’ and he is a busy jobbing musician, who is at home in a variety of styles. Most recently he was playing in the Wallace Rooney Orchestra’s version of Wayne Shorter’s ‘Universe’, and working with hip-hop produced 88Keys, and with jazz / funk outfit ‘Nuf Said’. Out of this melting pot of musical styles, Gould has fashioned a coherent set of tunes, many of which, he says, were composed in response to the Big Apple.
The first two tracks, ‘The Goulden Ratio’ and ‘Rickshaw’, played in quartet and quintet respectively, have a solid core that reminds me of some of the later bop players. While he name-checks Henderson and Coltrane, his soprano playing also carries a debt to early Steve Lacy and his tenor playing hints at Hank Mobley. None of this is bad company to be in, and it is refreshing that Gould does not seek to imitate any of these players, but is confidently forging a sound that is gently melodic tone with a sharp sense of rhythm. The straight-ahead jazz continues through ballads, like ‘Song for Millie’ and bop-inflected pieces, particularly he mixes with Wendholt’s trumpet (on tracks 2 and 6). Gould also throws in a piece of funk, in ‘Cool off’ with its rimshots, bubbling bass and effect-laden sax playing, and a nu-soul song with hypnotic vocals fro, Ioanna Vintu.
The reason why I mentioned that New York angle was that, given the plethora of artists playing a post-bop sound from there, this is a very different set, both in tone and approach. It is less attention seeking and less innovative than some of these other players, but nonetheless shows a healthy respect for the tradition and a deep commitment to crystal clear saxophone playing.
Reviewed by Chris Baber
