GEORGE CROWLEY - Can of Worms
WHIRLWIND RECORDINGS WR4666
George Crowley (tenor sax) Tom Challenger (tenor sax) Dan Nicholls (piano, Wurlitzer) Sam Lasserson (bass) Jon Scott (drums)
Recorded at Fish Factory Studios, July 2014.
This two tenor dialogue from a couple of rising stars of the London jazz scene manages to mix the tough gladiatorial exchanges typical of say Johnny Griffin and Eddie ` Lockjaw` Davis with the more abstract conversational style that Warne Marsh and associates like Pete Christlieb brought to the format. If my ears haven’t deceived me I would say that leader Crowley has the more robust sound of the two with the lighter toned, Challenger making a pleasing contrast. Supported by a hard working rhythm section and with swirling electronics from Nichol’s Wurlitzer the session has a hard nosed `Blue Note` sound at times whilst at others it takes on a more abstract ruminative quality. Tunes like the headlong `I’m Not Here To Re-Invent The Wheel` and the dislocated waltz like ` Ubiquitous Up Tune in 3` come closest to the `tough tenors` approach and are a welcome diversion from the more chromatic musings and rubato deliberations that generally predominate. Importantly, the conversation between the horn men is fertile and free of platitudes, energetic and intellectual but, and most importantly, accessible to everyone with an ear tuned to simulating, discursive interplay.
WHIRLWIND RECORDINGS WR4666
George Crowley (tenor sax) Tom Challenger (tenor sax) Dan Nicholls (piano, Wurlitzer) Sam Lasserson (bass) Jon Scott (drums)
Recorded at Fish Factory Studios, July 2014.
This two tenor dialogue from a couple of rising stars of the London jazz scene manages to mix the tough gladiatorial exchanges typical of say Johnny Griffin and Eddie ` Lockjaw` Davis with the more abstract conversational style that Warne Marsh and associates like Pete Christlieb brought to the format. If my ears haven’t deceived me I would say that leader Crowley has the more robust sound of the two with the lighter toned, Challenger making a pleasing contrast. Supported by a hard working rhythm section and with swirling electronics from Nichol’s Wurlitzer the session has a hard nosed `Blue Note` sound at times whilst at others it takes on a more abstract ruminative quality. Tunes like the headlong `I’m Not Here To Re-Invent The Wheel` and the dislocated waltz like ` Ubiquitous Up Tune in 3` come closest to the `tough tenors` approach and are a welcome diversion from the more chromatic musings and rubato deliberations that generally predominate. Importantly, the conversation between the horn men is fertile and free of platitudes, energetic and intellectual but, and most importantly, accessible to everyone with an ear tuned to simulating, discursive interplay.
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Reviewed by Euan Dixon
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