Saxophonists unfamiliar with Tony Malaby are missing out on one of the best tenor players on the scene right now. Malaby's playing is a coelescence of warm sound, rich melodic vocabulary, and crystal technique. Listening to the material on this disc leaves you feeling that there is nothing outside the reach of Malaby's tenor. One specifically unique quality of his playing is his inherent ability to emphasize the lower range of the harmonic series in his tone. The net effect of this is an almost "bari-like" sound at times. The first song on this album, "Ralph and the Redhead" features solo passages which sound almost like they were played on the mid-upper range of the baritone. Malaby has obviously focused a great deal of energy on his sound. The second cut on this disc features some very exposed playing. Tenor players would be well advised to study the subtleties in the way Malaby approaches altissimo. He effortlessly changes standard altissimo notes into multiphonics by changing lip pressure to stimulate other partials in the particular fingerings he is using.
A major element of this recording is the way in which the lead instruments relate to the rhythm section (Trey Henry on bass and Billy Mintz on drums). Being as there is no piano in this recording, much of the harmonic movement is defined by the lead players. Track 3 ("Choo Choo") yields Malaby playing a very vertical, chordal solo which clearly defines sections of tonality and partial tonality. Scott's strength as a melodic soloist come out in force as he and Malaby negotiate cross-fire solos which intertwine freely.
One of the most surprising elements of this CD is the amount of melodic soloing on the part of all players. Again, many modern ensembles choose to play raunchy, squeaking, wretched sounds the entire session for the sake of difference. The assertion throughout this recording is its sincerity in sound. Malaby and Scott speak to each other and the audience with their own voices and never for the sake of trying to be different or avant garde. Even the rhythm section assembled for this recording offers a great deal of melodic material. Henry's bass sings through many passages with ease while still offering the essential elements of rhythmic counterpoint and foundation. This is particularly evident on the one cover on this CD, Bill Frisell's "Waiting Inside." Henry takes out the bow briefly to provide the 3rd melodic stream in ensemble passages. Mintz and Henry are the kind of section players that make a recording date full of challenging music like this a breeze to negotiate.
This disc is an excellent step into contemporary acoustic jazz for those who wish to enjoy the road paved by many of jazz's greatest figures. These cats play, and play hard.
This is CD is available from 9 Winds records, PO Box 10082, Beverly Hills, CA 90213