BARNES / O’HIGGINS & THE SAX SECTION - Oh Gee!
Woodville Records WVCD146
Alan Barnes ( alto / sop / clt ) Dave O’Higgins ( tnr ) Sam Mayne ( alto ) Judith O’Higgins ( tnr ) Karen Sharp ( bar ) Robin Aspland ( pno ) Adam King ( bass ) Sebastian De Krom ( drs )
Recorded London, 30 January 2015
The genesis for this recording took place in the nineteen eighties when both Alan Barnes and Dave O’Higgins were members of the Pizza Express Modern Jazz Sextet, they used their time exchanging writing and arranging ideas.
The group is in fact a full big band reed section with a piano trio which at first glance seems unappealing but with the skill of the arrangers it becomes a much more interesting proposition with the blending of the various saxophones in different combination.
The album opens with the Benny Carter composition “Doozy” and after the saxes play the theme Alan Barnes opens the proceedings with his choppy alto style he sometimes adopts this is followed by Sam Mayne who owes much to Cannonball Adderley, the whole section play the next section before it’s the turn of the two tenors exchange ideas before Karen Sharp makes the most of her solo on Baritone.
It’t a Benny Carter composition again with the delightful “Just A Mood” the highlight is the beautiful piano solo by the talented Robin Aspland who is often to be found accompanying singers.
Always a good to tune which swings along without much effort, “Topsy” is given the Supersax teatment but also gives the soloists a chance to shine with a good exchange of views between Alan Barnes on alto and Karen Sharp on baritone.
There is a stunning version of “Chelsea Bridge” which has Alan Barnes taking on the Ellington mantle for which he has a passion for this role.
After a hard swinging opening the Tadd Dameron composition “Our Delight” gives all the front line chance to have their with Karen Sharp’s baritone setting the pace.
With an excellent choice of material this album is a chance for a sax section to demonstrate their skills as a well organised section as well as some individual contributions which swing when needed but always have something individual to say.
We must not forget the rhythm section who keep the thing moving in the right direction.
Reviewed by Roy Booth
Woodville Records WVCD146
Alan Barnes ( alto / sop / clt ) Dave O’Higgins ( tnr ) Sam Mayne ( alto ) Judith O’Higgins ( tnr ) Karen Sharp ( bar ) Robin Aspland ( pno ) Adam King ( bass ) Sebastian De Krom ( drs )
Recorded London, 30 January 2015
The genesis for this recording took place in the nineteen eighties when both Alan Barnes and Dave O’Higgins were members of the Pizza Express Modern Jazz Sextet, they used their time exchanging writing and arranging ideas.
The group is in fact a full big band reed section with a piano trio which at first glance seems unappealing but with the skill of the arrangers it becomes a much more interesting proposition with the blending of the various saxophones in different combination.
The album opens with the Benny Carter composition “Doozy” and after the saxes play the theme Alan Barnes opens the proceedings with his choppy alto style he sometimes adopts this is followed by Sam Mayne who owes much to Cannonball Adderley, the whole section play the next section before it’s the turn of the two tenors exchange ideas before Karen Sharp makes the most of her solo on Baritone.
It’t a Benny Carter composition again with the delightful “Just A Mood” the highlight is the beautiful piano solo by the talented Robin Aspland who is often to be found accompanying singers.
Always a good to tune which swings along without much effort, “Topsy” is given the Supersax teatment but also gives the soloists a chance to shine with a good exchange of views between Alan Barnes on alto and Karen Sharp on baritone.
There is a stunning version of “Chelsea Bridge” which has Alan Barnes taking on the Ellington mantle for which he has a passion for this role.
After a hard swinging opening the Tadd Dameron composition “Our Delight” gives all the front line chance to have their with Karen Sharp’s baritone setting the pace.
With an excellent choice of material this album is a chance for a sax section to demonstrate their skills as a well organised section as well as some individual contributions which swing when needed but always have something individual to say.
We must not forget the rhythm section who keep the thing moving in the right direction.
Reviewed by Roy Booth
