SAMO SALAMON / TONY MALABY / ROBERTO DANI - Travelling, Moving, Breathing
Clean Feed: CF468CD
Samo Salamon: guitar; Tony Malaby: tenor and soprano saxophone; Roberto Dani: drums
Recorded April 2017 by Domen Hurap at Ravne na Koroskem.
Slovenian guitarist Salamon has been exploring the opportunities offered by a bassless trio for several recordings now (and receiving very positive reviews from us here at JazzViews). Each of these recordings builds upon the previous ones, even if the only constant is Salamon himself (although Dani does appear on many of Salamon’s recordings). Taking on the role of chordal instrument, providing the underlying rhythmic pulse that the bass normally provides, and supplying solos, means that Salamon expands the guitarist’s role to cover all the jobs done by the piano in a more typical jazz trio. While he is comfortable playing at dizzying speeds and bombastic volume, he is equally adept at softer, gentler tones (as you’d expect from someone who studied with John Scofield). For most of the tracks, Malaby sticks with the tenor sax for which he is familiar, but on a couple of tracks he switches to soprano. Malaby's playing moves effortlessly between mournful lamentation and aggressive honking – and he has mastered both sounds to such an extent that he owns each of his solos. Against these, Salamon works tirelessly to provide guitar support that weaves chords, basslines, solos into a never-ending kaleidoscope.
What Salamon has been doing with his bassless trios is finding new ways to expand the role of the guitar in jazz. In addition to assuming the mantle of the pianist in a jazz group, the use of electric guitar and various effects pedals allow him to change voices creates something less well defined. In order to do this, not only does he need an ability to think across multiple roles simultaneously, but he also needs fellow musicians who not only get this way of working but relish it. So, it is not surprise to see Dani here – and to, once again, delight in the way that he uses the drums so lyrically to provides such delicate counterpoint to Salamon’s playing – and also to see Arizonan tenor player Malaby reunited with Salamon (having played on the 2006 ‘Two Hours’ CD, although drumming on that outing was provided by Tom Rainey, with Mark Helias on bass – so not a bassless group). This is another significant marker in Salamon’s career and a CD which is sure to end up of Best of 2018 lists.
Reviewed by Chris Baber
Clean Feed: CF468CD
Samo Salamon: guitar; Tony Malaby: tenor and soprano saxophone; Roberto Dani: drums
Recorded April 2017 by Domen Hurap at Ravne na Koroskem.
Slovenian guitarist Salamon has been exploring the opportunities offered by a bassless trio for several recordings now (and receiving very positive reviews from us here at JazzViews). Each of these recordings builds upon the previous ones, even if the only constant is Salamon himself (although Dani does appear on many of Salamon’s recordings). Taking on the role of chordal instrument, providing the underlying rhythmic pulse that the bass normally provides, and supplying solos, means that Salamon expands the guitarist’s role to cover all the jobs done by the piano in a more typical jazz trio. While he is comfortable playing at dizzying speeds and bombastic volume, he is equally adept at softer, gentler tones (as you’d expect from someone who studied with John Scofield). For most of the tracks, Malaby sticks with the tenor sax for which he is familiar, but on a couple of tracks he switches to soprano. Malaby's playing moves effortlessly between mournful lamentation and aggressive honking – and he has mastered both sounds to such an extent that he owns each of his solos. Against these, Salamon works tirelessly to provide guitar support that weaves chords, basslines, solos into a never-ending kaleidoscope.
What Salamon has been doing with his bassless trios is finding new ways to expand the role of the guitar in jazz. In addition to assuming the mantle of the pianist in a jazz group, the use of electric guitar and various effects pedals allow him to change voices creates something less well defined. In order to do this, not only does he need an ability to think across multiple roles simultaneously, but he also needs fellow musicians who not only get this way of working but relish it. So, it is not surprise to see Dani here – and to, once again, delight in the way that he uses the drums so lyrically to provides such delicate counterpoint to Salamon’s playing – and also to see Arizonan tenor player Malaby reunited with Salamon (having played on the 2006 ‘Two Hours’ CD, although drumming on that outing was provided by Tom Rainey, with Mark Helias on bass – so not a bassless group). This is another significant marker in Salamon’s career and a CD which is sure to end up of Best of 2018 lists.
Reviewed by Chris Baber
