REGGIE WASHINGTON - Vintage New Acoustic
Jammin’ Colors JC18-007-2
Reggie Washington (b); Bobby Sparks (p, elp, keys, org); Fabrice Alleman (ts and ss); E.J. Strickland (d)
Recorded at Da Town Studio Marseille 12-14 May 2018
Bassist Reggie Washington has played and recorded with many artists including, Steve Coleman, Branford Marsalis, Roy Hargrove, Ravi Coltrane, Lester Bowie and Cassandra Wilson. He’s also one of those bassists who play both acoustic and electric bass (other members of the club include Stanley Clarke, John Patitucci, Tom Kennedy and Brian Bromberg).
Washington’s latest album features a quartet line-up comprising of the bassist plus American musicians Bobby Sparks (keyboards) and E.J. Strickland (drums), plus Belgian saxophonist Fabrice Alleman. Vintage New Acoustic sounds like an oxymoron, but Washington says he chose the title because vintage means timeless and he also wanted to explore new ideas and directions with this music.
The album kick off with a short piece (just over a minute long) ‘Always Moving,’ in which Sparks plays a one-chord vamp on piano while Strickland lays down a tight groove and Alleman plays some exciting tenor sax on top of it. It’s a slightly frustrating piece, because just as the track starts taking off, it fades out. There is a short reprise at the end of the album, but it only adds to the frustration. The second track, ‘Fall,’ is the first of three Wayne Shorter compositions on the album. On this mellow number Washington plays electric bass, while Alleman plays the melody (and a solo) on soprano sax.
The Beatles’ ‘Eleanor Rigby’ is a three and a half minute bass solo, with Washington double-tracking his acoustic bass. Washington’s composition ‘Half Position Woody’ is a swinging number (and one of the album’s highlights) featuring vibrant solos from Sparks on acoustic piano and Alleman on tenor.
The other two Shorter compositions, ‘E.S.P.’ and ‘Footprints’ are each over nine minutes long, giving the band plenty of space to stretch out. It’s obviously hard not to make comparisons with the tunes’ composer when listening to these tracks, but Alleman acquits himself well, bringing his own spin to the music. On E.S.P. Sparks plays a sprightly piano solo and Washington solos on acoustic bass, while Sparks solos extensively again on ‘Footprints’ with Alleman playing soprano sax.
Sandwiched between them is ‘Thoughts of Buckshot,’ a one-minute acoustic bass solo. The Bobby Timmons’ standard ‘Moanin’ is another bass solo number, this time, featuring double-tracked electric bass. ‘B3 Blues 4 Leroy,’ a swinging blues number, sees Sparks letting rip on organ, accompanied by Washington’s walking bass line.
This is a fine album, featuring a solid band and an impressive mix of originals and standards.
Reviewed by George Cole
Jammin’ Colors JC18-007-2
Reggie Washington (b); Bobby Sparks (p, elp, keys, org); Fabrice Alleman (ts and ss); E.J. Strickland (d)
Recorded at Da Town Studio Marseille 12-14 May 2018
Bassist Reggie Washington has played and recorded with many artists including, Steve Coleman, Branford Marsalis, Roy Hargrove, Ravi Coltrane, Lester Bowie and Cassandra Wilson. He’s also one of those bassists who play both acoustic and electric bass (other members of the club include Stanley Clarke, John Patitucci, Tom Kennedy and Brian Bromberg).
Washington’s latest album features a quartet line-up comprising of the bassist plus American musicians Bobby Sparks (keyboards) and E.J. Strickland (drums), plus Belgian saxophonist Fabrice Alleman. Vintage New Acoustic sounds like an oxymoron, but Washington says he chose the title because vintage means timeless and he also wanted to explore new ideas and directions with this music.
The album kick off with a short piece (just over a minute long) ‘Always Moving,’ in which Sparks plays a one-chord vamp on piano while Strickland lays down a tight groove and Alleman plays some exciting tenor sax on top of it. It’s a slightly frustrating piece, because just as the track starts taking off, it fades out. There is a short reprise at the end of the album, but it only adds to the frustration. The second track, ‘Fall,’ is the first of three Wayne Shorter compositions on the album. On this mellow number Washington plays electric bass, while Alleman plays the melody (and a solo) on soprano sax.
The Beatles’ ‘Eleanor Rigby’ is a three and a half minute bass solo, with Washington double-tracking his acoustic bass. Washington’s composition ‘Half Position Woody’ is a swinging number (and one of the album’s highlights) featuring vibrant solos from Sparks on acoustic piano and Alleman on tenor.
The other two Shorter compositions, ‘E.S.P.’ and ‘Footprints’ are each over nine minutes long, giving the band plenty of space to stretch out. It’s obviously hard not to make comparisons with the tunes’ composer when listening to these tracks, but Alleman acquits himself well, bringing his own spin to the music. On E.S.P. Sparks plays a sprightly piano solo and Washington solos on acoustic bass, while Sparks solos extensively again on ‘Footprints’ with Alleman playing soprano sax.
Sandwiched between them is ‘Thoughts of Buckshot,’ a one-minute acoustic bass solo. The Bobby Timmons’ standard ‘Moanin’ is another bass solo number, this time, featuring double-tracked electric bass. ‘B3 Blues 4 Leroy,’ a swinging blues number, sees Sparks letting rip on organ, accompanied by Washington’s walking bass line.
This is a fine album, featuring a solid band and an impressive mix of originals and standards.
Reviewed by George Cole
