FRANK MORELLI & KEITH OXMAN - The Ox-Mo Incident
Capri Records: CAPRI 74165-2
Keith Oxman (tenor sax) Frank Morelli (bassoon) Jeff Jenkins (piano) Ken Walker (bass) Todd Reid (drums) Recorded October 7th, 2019 in Denver, USA.
This unusual recording brings together two highly accomplished instrumentalists under a whimsical play on words title that combines their names in a reference to a well-known Western novel. Their collaboration brings together the worlds of jazz and classical music in a seamless and unpretentious way that is simply a joy to hear. The classicist of the pair is Frank Morelli, a bassoon virtuoso, who alongside his many academic achievements is a member of that remarkable musical institution, The Orpheus Chamber Orchestra, famous for their collaborative artistic policy and working without a conductor. Although not a jazz musician per se his experience across a wide range of musical settings enables him to approach this novel working partnership with consummate ease. In tandem with Keith Oxman, a thoroughly grounded jazzman, who plays a light toned tenor with echoes of the Zoot Sims and Al Cohn style, he makes a convincing case for the bassoon as a jazz instrument even though it is rarely heard in this context.
Unlike the oboe, its double reeded partner, or the bass clarinet it hasn’t found many exponents in the field of jazz; I did read somewhere that Stan Getz played one as a young man but as far as I know there isn’t any recorded evidence of this. Reputed to be difficult to play and with a more limited range than the aforementioned woodwinds it can sound a bit like a duck caller in the higher registers but at middle range its warm, woody resonance is particularly useful when imparting rich colouration to an ensemble sound; here, alongside Oxman’s tenor it provides that arresting tonal contrast that jazz combos seek when creating a distinctive group sound.
The success of the session is also in large measure down to the selection of material which includes popular songs derived from classical source material and Broadway musicals; the type of repertoire that suits the fusion brief. Even the three original pieces are replete with classical references one of which is an adaptation of the big theme from the third movement of Brahms Symphony No.3.
Alongside this we have versions of `Full Moon and Empty Arms` (Rachmaninoff Piano Concerto No.2); `Baubles, Bangles and Beads` and `Stranger in Paradise`, both borrowings from Borodin; Faure’s `Pavanne` and the ballad `Poor Butterfly`, itself inspired by Puccini. Of the Broadway tunes there are Rodgers and Hammerstein favourites from South Pacific and Oklahoma finishing up with Lerner and Loewe’s `I Could Have Danced All Night` which manages to incorporate a passage from Mozart’s Bassoon Concerto. The remaining originals are by Keith Oxman and reveal a sophisticated understanding of musical form and the ability to invest jazz fundamentals with variegated harmonic devices. None of these classical references should frighten off the dyed in the wool jazz fan because as well as honouring the beautiful timeless melodies of the chosen pieces, the music swings with determination and brims with vivacious energy, good humour and intriguing feats of invention and interpretation. Everyone involved sounds as though they are thoroughly enjoying themselves especially the impeccable rhythm section with pianist Jeff Jenkins whose solo contributions impress throughout.
Even on the evidence of this excellent recital it is unlikely that the bassoon will ever become a widely adopted instrument within jazz but in the hands of a masterful exponent like Frank Morelli working in concert with a jazzman of Keith Oxman’s calibre the possibilities are clear and this rare opportunity to hear them shouldn’t be missed. Hopefully, the critical approbation this recording will surely receive will guarantee a follow up in the not too distant future.
Reviewed by Euan Dixon
Capri Records: CAPRI 74165-2
Keith Oxman (tenor sax) Frank Morelli (bassoon) Jeff Jenkins (piano) Ken Walker (bass) Todd Reid (drums) Recorded October 7th, 2019 in Denver, USA.
This unusual recording brings together two highly accomplished instrumentalists under a whimsical play on words title that combines their names in a reference to a well-known Western novel. Their collaboration brings together the worlds of jazz and classical music in a seamless and unpretentious way that is simply a joy to hear. The classicist of the pair is Frank Morelli, a bassoon virtuoso, who alongside his many academic achievements is a member of that remarkable musical institution, The Orpheus Chamber Orchestra, famous for their collaborative artistic policy and working without a conductor. Although not a jazz musician per se his experience across a wide range of musical settings enables him to approach this novel working partnership with consummate ease. In tandem with Keith Oxman, a thoroughly grounded jazzman, who plays a light toned tenor with echoes of the Zoot Sims and Al Cohn style, he makes a convincing case for the bassoon as a jazz instrument even though it is rarely heard in this context.
Unlike the oboe, its double reeded partner, or the bass clarinet it hasn’t found many exponents in the field of jazz; I did read somewhere that Stan Getz played one as a young man but as far as I know there isn’t any recorded evidence of this. Reputed to be difficult to play and with a more limited range than the aforementioned woodwinds it can sound a bit like a duck caller in the higher registers but at middle range its warm, woody resonance is particularly useful when imparting rich colouration to an ensemble sound; here, alongside Oxman’s tenor it provides that arresting tonal contrast that jazz combos seek when creating a distinctive group sound.
The success of the session is also in large measure down to the selection of material which includes popular songs derived from classical source material and Broadway musicals; the type of repertoire that suits the fusion brief. Even the three original pieces are replete with classical references one of which is an adaptation of the big theme from the third movement of Brahms Symphony No.3.
Alongside this we have versions of `Full Moon and Empty Arms` (Rachmaninoff Piano Concerto No.2); `Baubles, Bangles and Beads` and `Stranger in Paradise`, both borrowings from Borodin; Faure’s `Pavanne` and the ballad `Poor Butterfly`, itself inspired by Puccini. Of the Broadway tunes there are Rodgers and Hammerstein favourites from South Pacific and Oklahoma finishing up with Lerner and Loewe’s `I Could Have Danced All Night` which manages to incorporate a passage from Mozart’s Bassoon Concerto. The remaining originals are by Keith Oxman and reveal a sophisticated understanding of musical form and the ability to invest jazz fundamentals with variegated harmonic devices. None of these classical references should frighten off the dyed in the wool jazz fan because as well as honouring the beautiful timeless melodies of the chosen pieces, the music swings with determination and brims with vivacious energy, good humour and intriguing feats of invention and interpretation. Everyone involved sounds as though they are thoroughly enjoying themselves especially the impeccable rhythm section with pianist Jeff Jenkins whose solo contributions impress throughout.
Even on the evidence of this excellent recital it is unlikely that the bassoon will ever become a widely adopted instrument within jazz but in the hands of a masterful exponent like Frank Morelli working in concert with a jazzman of Keith Oxman’s calibre the possibilities are clear and this rare opportunity to hear them shouldn’t be missed. Hopefully, the critical approbation this recording will surely receive will guarantee a follow up in the not too distant future.
Reviewed by Euan Dixon
