RYAN QUIGLEY - What Doesn’t Kill You
Whirlwind Recordings WR4691
Ryan Quigley - trumpet; Paul Booth - tenor sax, flutes; Steve Hamilton - piano, fender rhodes; Michael Janisch - bass; Clarence Penn - drums
Derry-born Quigley has quietly notched up an impressive CV that includes work with everyone from Aretha Franklin and Bob Geldof to Jimmy Greene and the Bad Plus, as well as a longtime association with Scottish wind specialists Brass Jaw and a role at the Royal Conservatoire of Scotland - the breadth of his activities is best indicated by the presence of both Tom and Quincy Jones on his list of former employers. All in all he’s earned the title of one of the UK’s leading trumpet players, and this recording offers the exciting prospect of uniting him with one of our leading saxophonists in the frontline, over a crack American rhythm team, with fellow Scottish National Jazz Orchestra member Hamilton in as well for good measure.
After the unaccompanied prologue highlights Quigley’s tone and control, opener “Doctor Stage” is just what you’d expect - tough, virtuosically swinging post-bop powered along by Penn’s explosive drumming, with the sort of open groove you’d hear on a late-period McCoy Tyner album, and killer solos from the frontline. “Fire Eyes” is an unexpected contrast, using multi-tracking to create an ambient orchestral soundscape more reminiscent of Mark Isham, and “What Doesn’t Kill You” has a deliciously loose, funky 1970s feel with an ominous pulse and declamatory soloing from Quigley directly descended from Bitches Brew era Miles - Penn is almost comically volcanic in response. The long format gives Hamilton and Booth plenty of time to assert their creative chops. Quigley is generous with solo space - “Green Light’ ‘s bass intro recalls Pharoah Sanders; the contemplative tune is a springboard for an extended Hamilton solo - “Long Journey Home” gives the superlative bass and drum team a chance to stretch out, until Booth enters with a series of trades with the leader, showing his diamond hard, centered tone and harmonic imagination. “Hymn To The Homeland” is an impressive set-piece with Quigley evoking the spirit of Freddie Hubbard with his speed, precision and powerful high register. It’s a great set of tunes, firmly grounded in the tradition as codified in the hard-swinging 1970's, with everyone playing their hearts out and a real feeling of warmth and friendship between the participants.
Reviewed by Eddie Myer
Whirlwind Recordings WR4691
Ryan Quigley - trumpet; Paul Booth - tenor sax, flutes; Steve Hamilton - piano, fender rhodes; Michael Janisch - bass; Clarence Penn - drums
Derry-born Quigley has quietly notched up an impressive CV that includes work with everyone from Aretha Franklin and Bob Geldof to Jimmy Greene and the Bad Plus, as well as a longtime association with Scottish wind specialists Brass Jaw and a role at the Royal Conservatoire of Scotland - the breadth of his activities is best indicated by the presence of both Tom and Quincy Jones on his list of former employers. All in all he’s earned the title of one of the UK’s leading trumpet players, and this recording offers the exciting prospect of uniting him with one of our leading saxophonists in the frontline, over a crack American rhythm team, with fellow Scottish National Jazz Orchestra member Hamilton in as well for good measure.
After the unaccompanied prologue highlights Quigley’s tone and control, opener “Doctor Stage” is just what you’d expect - tough, virtuosically swinging post-bop powered along by Penn’s explosive drumming, with the sort of open groove you’d hear on a late-period McCoy Tyner album, and killer solos from the frontline. “Fire Eyes” is an unexpected contrast, using multi-tracking to create an ambient orchestral soundscape more reminiscent of Mark Isham, and “What Doesn’t Kill You” has a deliciously loose, funky 1970s feel with an ominous pulse and declamatory soloing from Quigley directly descended from Bitches Brew era Miles - Penn is almost comically volcanic in response. The long format gives Hamilton and Booth plenty of time to assert their creative chops. Quigley is generous with solo space - “Green Light’ ‘s bass intro recalls Pharoah Sanders; the contemplative tune is a springboard for an extended Hamilton solo - “Long Journey Home” gives the superlative bass and drum team a chance to stretch out, until Booth enters with a series of trades with the leader, showing his diamond hard, centered tone and harmonic imagination. “Hymn To The Homeland” is an impressive set-piece with Quigley evoking the spirit of Freddie Hubbard with his speed, precision and powerful high register. It’s a great set of tunes, firmly grounded in the tradition as codified in the hard-swinging 1970's, with everyone playing their hearts out and a real feeling of warmth and friendship between the participants.
Reviewed by Eddie Myer
