 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
 |
|
|
||||||
 |
Jazz Focus Records - JFCD013 |
|||||||
|
Jay Thomas (trumpet, flugelhorn, tenor & soprano sax); Travis Shook (piano); Phil Sparks (bass); Jon Wikan (drums); John Goforth (alto, tenor & bariton sax) Recorded on January 1999 at Ironwood Studios (Seattle, WA) |
|||||||
|
“If
you haven’t had the pleasure of hearing the remarkable Jay Thomas, you
should definitely place the experience high on your list to do.” “Thomas, as stated in earlier commentaries, is a trumpter on the rise
and his latest release is certainly a move toward stardom.” “Jay Thomas plays trumpet and flugelhorn with assurance and facility,
and he has a clear sense of the sound and style he wants his group to project.” “Rapture is by far the most enjoyable and durable. Thomas’ buttery
flugelhorn and trenchant trumpet are featured; remarkably so are his tenor and soprano
saxophones.” “...Shows Thomas to be an original and independant-minded improvisor.” “When you hear this fine disc I think you will agree that “Rapture” is the perfect title.” “The selections are evenly divided between standards and original
jazz compositions. Every one of them sizzles in this high level performance. As for Thomas,
he’s simply world class.---5 Stars!!” |
||||||||
|
* * * * * By Jack Bowers, Cadence - January 1997 Speaking of uncelebrated, the clever and resourceful
Jay Thomas, whose praises should be intoned from the highest summits, returns
with a colorful and electrifying follow-up to his well received disc, 360 Degrees
(July 1995,p. 101). Thomas, a superlative Jazz trumpeter who doubles on reeds-
although he does so on 2 only on "Up Against the Wall" and "Song
For Joanne"-is the dynamic nucleus around which every other element in
this notably rewarding session revolves. Although his colleagues play with conspicuous
ease and assurance, it is Thomas' well-conceived and seemingly effortless improvisations
that remain fresh in one's memory and elicit his earnest respect and admiration.
While it is difficult to single out any particular track for commendation, Thomas'
excursions on the standards "Soon" (muted) and "I Should Care"
(open) are especially memorable, yet only marginally superior to those on John
Lewis' "Afternoon in Paris", Richard Carpenter's "Walkin"
(which, as played here more closely resembles "Sprintin"), John Coltrane's
unhurried blues "Up Against The Wall" (on trumpet and tenor) and his
own lilting samba, "Sequoia". The rhythm section offers excellent
support, and Shook makes the most of his several solo opportunities. If you
haven't had the pleasure of hearing the remarkable Jay Thomas, you should definitely
place the experience high on your list of things to do. By Rudy Thomas, Rapport Magazine This is the third Thomas CD reviewed on these pages
and this one is certainly the most enterprising. Thomas is a trumpeter from
the old school- and that’s a compliment- savvy enough on his instrument
to deliver a straight ahead type of in-your-face jazz yet possessing enough
ability to stray far beyond conventional corners to give his individual stamp
to the proceedings. Virtually everything on this 10-selection disc is a kind
of musical adventure. Soon; the George and Ira Gershwin evergreen, has been
worked to death for years by varied and sundry musicians. Thomas, however, takes
his entourage into new domains to give this an upswing drive filled with energy
and exuberance. Shook on piano is a wonder, so self-possessed, filled with brashness
and confidence that what he lays down is right on perfect. It’s a tour
de force for everyone involved. The somberness on Dizzy Gillispie’s I Waited
For You is a surprise. The soft, introspective piano by Shook is dark and moody
as is Thomas’’ horn, perfectly in sync with what Shook established.
One would think that the torch song I Should Care would follow suit but here
Thomas moves the melody along less hesitantly adding a biting edge to the melody,
the sarcasm of the unsung lyrics very well stated. For those that recall the
Tommy Dorsey version with Frank Sinatra handling the pop vocal will be intrigued
by this contrasting version. Shook slap-dashes the notes, once again echoing
Thomas’ point of view, and very nicely takes center stage here with a highly
personal solo that takes it to a deeper plateau. Thomas closes it all out with
adeptness and guile. The title tune Rapture is thoroughly engaging. Thomas teams
with the saxes of Goforth on a very complex melody while Shook offers musical
exclamation points along the way. Although its time period is more than eight
minutes, the abstractness of the piece and the attack of the musicians, especially
Thomas, makes the piece so involving. Thomas, as stated in earlier commentaries,
is a trumpeter on the rise, and his latest release is certainly a move toward
stardom. By Bill Bennett, Jazz Times - December 1996 Listening to this album is refreshing -- like being on a business
trip, and discovering a group with a certain something in the hotel
bar. Jay Thomas plays trumpet and flugelhorn with assurance and
facility, and he has a clear sense of the sound and style he wants
his group to project. For this set, he leads a sure-footed and sympathetic
quartet (augmented on several tracks by additional horns) through
a straight-ahead set of standards and originals. The rhythm section
is anchored by pianist Travis Shook, who brings a fine sense of
melody to bear over a left hand still developing subtleties of texture
and harmony. Drummer Jon Wikan and Phil Sparks on bass round out
the core group, who are able to surprise from time to time -- their
cross-cutting vamp on Miles' "Walkin", for example --
but wander from the groove just as often. By Paul, deBarros, Jazz Beat, Seattle Times - August 15th, 1996 When the aptly named title cut of Jay Thomas' CD,
"Rapture" first hit KPLU, pianist Marc Seales ran to the phone, "I
said, 'Hey this is some hip stuff. This is beautiful," reports Seales.
Jay Thomas has been getting that kind of response from his peers ever since
he was a child prodigy in North Seattle in the late 1960s. Recently the rest
of the world has been taking notice, too, thanks to his terrific new recording.
Of the recent spate of discs by Seattle jazz musicians, "Rapture"
is by far the most enjoyable and durable. Thomas' buttery flugelhorn and trenchant
trumpet are featured; remarkably, so are his tenor and soprano saxophones. The
album features some seldom played tunes, such as Dizzy Gillespie's "I Waited
For You" and a pleasantly ambling version of John Coltrane's "Up Against
The Wall," which has been getting lots of air play on KPLU. During a break
in rehearsals at Jazz Port Townsend last month, Thomas was upbeat "This
is the first time I've made an album where I felt everybody was contributing
equally," said Thomas. "This material was so strong. It drives you,
instead of the other way around." A hard bopper who takes great pleasure
in tickling your ears with just the right note, Thomas highlights his romantic
side on this disc. "Duke Ellington once said, "If you're going to
cry, cry big tears." The talented multi-instrumentalist performs with Jessica
Williams Aug 28th and 29th at the Pig'n'Whistle and with Friendly Fire the first
Sunday of each month at New Orleans Restaurant. By Robert Tate, Jazz Now Jay Thomas plays both brass and reed instruments, which
is a rarity in Jazz. Actually he plays the brass much more on this disc; there
is only one number on which he plays saxes exclusively. He has a warm tone and
plays clean lines that are musically satisfying. The rhythm section is solid
and supportive, but I get the feeling that each player is doing his own thing
and there is not a lot of interaction among them. Pianist Shook's left-hand
chording is heavy and predictable. Goforth and Schroeder are along only "to
round out some horn section parts," as it says in the liner notes. The
selection of tunes is nice. John Lewis' "Afternoon in Paris" is taken
at a moderate up-tempo, faster than it's usually played, and it's quite effective
that way. The version of "Walkin" here owes little but the head to
Miles and shows Thomas to be an original and independent-minded improviser. By Michael Powers, 5/4 Magazine Virtually reality? How is it that Rapture was recorded here
in Seattle, yet it is as well conceived and executed as if all the musicians
were headquartered in New York? Well there is no technological gimmickry here;
this is modern mainstream at its finest. Northwest audiences have long known
Jay Thomas as the svengali who is equally at home burning on the trumpet, flugelhorn,
flute and tenor, alto and soprano saxophones. He has a disarming "aw shucks"
smile and a demeanor that belies the immense talent and commitment at his core.
The new wrinkle here is the maturation of his writing and arranging skills.
Jay features his regular working rhythm section, and the time they put in together
on the bandstand clearly pays off here in a cohesive and relaxed musical feel
that is a treat. Pianist Travis Shook comes ferociously out of the gate with
a great solo turn on the opener, "Afternoon in Paris," taken at breakneck
speed. He is a world-class talent with an extensive vocabulary of the tradition
to draw upon, yet he infuses that history with a youthful vibrancy not unlike
Joey Calderazzo or Kenny Kirkland. Bassist Phil Sparks has rhythmic buoyancy
with great note choice and tone throughout. Drummer Jon Wikan swings hard with
great versatility. Standouts include "Song for Joanne" (written for
Jay's mother), and a fine reading of Coltrane's "Up Against The Wall."
On selected tracks the quartet is augmented by the fine trombone work of Greg
Schroeder and reed work of co-producer John Goforth, serving to flesh out the
arrangements without upsetting the finely tuned balance of the quartet. Also
of note are Jay's well-written liner notes and Bob Meador's exquisite visual
design work. Rapture is defined as a "state or experience of being carried
away by overwhelming emotion." When you hear this fine disc I think you
will agree that Rapture is the perfect title. By George Fendl, JAZZSCENE Jay Thomas is for me the Northwest’s answer to the
best East Coast trumpet player you can name. But I shouldn’t sell him short.
He’s equally compelling here on flugelhorn, tenor and soprano saxophones.
His quartet consists of Travis Shook, piano; Phil Sparks, bass and Jon Wikan,
drums. Pay close attention to Shook, a fully realized soloist with taste and
precision. The quartet is augmented on five of the ten tunes by John Goforth,
saxes and Greg Schroeder, trombone. The selections are evenly divided between
standards and original jazz compositions. Every one of them sizzles in this
high level performance. As for Thomas, he’s simply world class. --- 5 STARS!!
--- |
||||||||
