Very, very nice this one
is, the absence of an
overall noir atmosphere no cause for complaint.
The project, under the leadership of Bob Sneider
and Joe Locke, looks at the scores of cinematic
works of the film noir genre, simply for material
worth performing. Maybe somebody thought the genre
might have occasioned unusual inspiration and produced
themes of substantial jazz potential. Speculate
if you like, and admire the
considerable inventiveness of the arrangements.
There's something in the initial material. Witness
notably Grant Stewart's building of a tenor solo
on “Mulholland Falls,” which couldn't
have been done without a foundation. We have to
wait to hear Stewart work out, which he does also
on “Body Heat.” On “Farewell,
My Lovely” (arranged Phil Flanigan), he trades
slow fours impressively with the vibraphone of
Joe Locke, himself perhaps the sole big name in
the band.
I'm not complaining about the balance of soloists,
there's just a little suspense built into the programming.
There's been a lot of Locke by the time Stewart
gets to make his mark—and Locke is there
giving him great support.
The moving, touching, quiet opener is without
horns. Then John Sneider's bright lyric trumpet
opens a sample from “Chinatown,” before
gathering pace to become something of a trumpet
feature. He develops a melancholy tone, with Hofmann's
plangent piano and the colourings which mark Locke
as a star accompanist.
Blending of characters is
another dramatic aspect of this never-aggressive
set. Trumpet and vibes
ride the ensemble textures of “Les Modernes,” to
cite one of numerous scenes for two. In the dreamy
intimacy of “Katya,” Locke delivers
a soliloquy. ”Promenade Sentimentale,” a
great tune arranged by the trumpeter, gives a clearer
presentation of the quality contributions of the
bassist and drummer.
Bob Sneider is everywhere—with several arrangements,
and as both ensemble and solo guitarist: from the
interplay with vibes on “Fallen Angel” through
the flamenco of Thomas Stanko's “A Farewell
to Maria” (arranged by Chris Ziemba), to
his interaction with Hofmann's piano in the later
stages of the closer. He and Locke might have relished
this set for several opportunities to conjure a
range of colour and effect in ensemble and accompaniment.
Paul Hofmann, as well as being the one band member
to contribute an original tune, “Last Kiss,” gets
to show his paces when it becomes a piano feature
or dramatic monologue. He also gets to show his
paces on the closer, as arranger and soloist.
These compositions from film noir have polychrome
arrangements and spark creative initiatives, structured
overall as a very mellow, melancholy-tinged performance
on unhackneyed themes well-found.
— Robert R. Calder
© All About Jazz, June 2006
|
