GREGORY TARDY -Hope
Steeplechase SCCD 31775
Gregory Tardy (tenor sax) Helen Sung (piano) Sean Conly (drums) Jameo Brown (drums)
Recorded May 2012
The expression of religious convictions in musical terms began with the first transcendental yearnings of mankind and a number of commentators have suggested that the very origins of music lie in its support of ritualistic observances, indeed the history of music can be said to have been largely shaped by religious conviction and patronage.
Gregory Tardy comes over as a man of profound Christian faith with a strong desire to express it through his chosen musical medium which is a distillation of post Coltrane modalism and Hard –Bop styling’s with subtly applied gospel style devotional touches. You don’t, however, need to share his religious convictions to enjoy the music any more than someone who can enjoy the sound of Tudor church music need imbibe its sacerdotal content. There are, it must be acknowledged, two or three Hymn tune covers which are a bit dreary and don’t work terribly well in a jazz context but most of the music would come over as fresh and accessible post Coltrane bop in a blindfold test which concealed the agenda that is manifest in Tardy’s chosen titles.
He has a pleasing tenor sound and a nice line in solo development as well as being ably supported by Helen Sung, an extremely tasteful pianist whose intelligent explorations of the various themes are both cogent and vivacious. Likewise the bass and drums are top drawer talents and all in all this is a very pleasing set that will appeal to both the faithful and the faithless alike.
Reviewed by Euan Dixon
Steeplechase SCCD 31775
Gregory Tardy (tenor sax) Helen Sung (piano) Sean Conly (drums) Jameo Brown (drums)
Recorded May 2012
The expression of religious convictions in musical terms began with the first transcendental yearnings of mankind and a number of commentators have suggested that the very origins of music lie in its support of ritualistic observances, indeed the history of music can be said to have been largely shaped by religious conviction and patronage.
Gregory Tardy comes over as a man of profound Christian faith with a strong desire to express it through his chosen musical medium which is a distillation of post Coltrane modalism and Hard –Bop styling’s with subtly applied gospel style devotional touches. You don’t, however, need to share his religious convictions to enjoy the music any more than someone who can enjoy the sound of Tudor church music need imbibe its sacerdotal content. There are, it must be acknowledged, two or three Hymn tune covers which are a bit dreary and don’t work terribly well in a jazz context but most of the music would come over as fresh and accessible post Coltrane bop in a blindfold test which concealed the agenda that is manifest in Tardy’s chosen titles.
He has a pleasing tenor sound and a nice line in solo development as well as being ably supported by Helen Sung, an extremely tasteful pianist whose intelligent explorations of the various themes are both cogent and vivacious. Likewise the bass and drums are top drawer talents and all in all this is a very pleasing set that will appeal to both the faithful and the faithless alike.
Reviewed by Euan Dixon
