The words "film noir" conjure up images of Sam Spade and Philip Marlowe and a feeling of suspense, intrigue, and maybe a little soot and grime. Guitarist Bob Sneider and vibist Joe Locke and the rest of the Film Noir Project septet succeed in setting a cinematic and thematic mood on this CD of film and film-inspired compositions. But calling this simply “mood music” would be selling it drastically short. Locke, who has been known for his pyrotechnic mallets, is perhaps better defined by his sensitivity; he’s able to express emotion on the vibraphone as few others have been able to achieve, with a supreme subtlety and grace. The album’s opening track, the title tune penned by Locke, is hauntingly beautiful.

Sneider, who has had other releases on the label and who deserves far wider recognition, excels in both improvisation and accompaniment; he and Locke blend beautifully, and like Locke, performs the emotional material with a heartfelt and tender touch. He also surprises with a bit of flamenco to open “A Farewell To Maria.” The rest of the septet does a fine job in fitting the mood of the album; trumpeter John Sneider, who does some of his best playing with his softer tones, contributes a stirring arrangement of “Chinatown,” bassist Phil Flanagan swaggers through his arrangement of “Farewell My Lovely,” and pianist Paul Hoffman, a frequent collaborator with guitarist Sneider, is the perfect compliment to each track whether as an accompanist or soloist. Saxophonist Grant Stewart provides cameos of Robert Mitchum bravado, and drummer Mike Melito reveals a far broader depth and dynamic than is disclosed within the more limiting framework of his usual hard bop outings.

A difficult album to categorize, Fallen Angel is a gorgeously melodic and thematically cohesive work.

— Ed Trefzger
© JazzWeek, March/April 2006