Drummer Whit Dickey’s Coalescence (Clean Feed) is something like an abridged compendium of acoustic free-jazz performance practice, ranging from the minor key, ostinato-driven “Mojo Rising” to the free-time collective improv “Coalescence 2.” The record is very tight by free-jazz standards. Dickey’s slight compositions are nicely read-down by trumpeter Roy Campbell and alto saxophonist Rob Brown, two very adaptable improvisers who are superb here. Dickey has a huge jazz percussion vocabulary. He swings in about as many ways as is possible, and he’s got a fine touch and big ears. As a bassist, Joe Morris makes a very good guitarist, which is not necessarily a bad thing. He has a rather puny tone, sure, but he gets around the instrument very well and provides an active rhythmic counterpoint to Dickey. Not a perfect record, but very, very good.
Originally PublishedRelated Posts
Sonny Terry/Brownie McGhee: Backwater Blues
Start Your Free Trial to Continue Reading
Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music’s best journalists and critics.
Jonathan Butler: The Simple Life
Jonathan Butler’s optimistic music belies a dirt-poor childhood growing up in a South Africa segregated by apartheid. Live in South Africa, a new CD and DVD package, presents a sense of the resulting inner turmoil, mixed with dogged resolve, that paved the way to his status as an icon in his country and successful musician outside of it. Looking back, the 46-year-old Butler says today, the driving forces that led to his overcoming apartheid-the formal policy of racial separation and economic discrimination finally dismantled in 1993-were family, faith and abundant talent.
“When we were kids, our parents never talked about the ANC [African National Congress] or Nelson Mandela,” he says. Butler was raised as the youngest child in a large family. They lived in a house patched together by corrugated tin and cardboard, in the “coloreds only” township of Athlone near Cape Town. “They never talked about struggles so we never knew what was happening.”
Start Your Free Trial to Continue Reading
Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music’s best journalists and critics.
Harry Connick, Jr.: Direct Hits
Two decades after his commercial breakthrough, Harry Connick Jr. taps legendary producer Clive Davis for an album of crooner roots and beloved tunes
Scott LaFaro
Previously unavailable recordings and a new bio illuminate the legend of bassist Scott LaFaro