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McVouty Records - MCVCD6250 |
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Jay Thomas (trumpet, flugelhorn & tenor sax); Ceder Walton (piano); Chuck Israels (bass); Billy Higgins (drums); Dave Peterson (guitar); Becca Duran (vocal on #6); Bernard Wray (percussion on #3 & 4); Tom Artwick (tenor sax on #4) |
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“His fluidity and control impart a surface smoothness
that could lull the casual listener into overlooking the daring
of his improvisations...” “Jay Thomas plays trumpet, flugelhorn, tenor sax and
flute like a demon. The music he creates is nothing less than wonderful.
This release will verify his position as one of the very best jazz
musicians in music today, bar none.” “Thomas blows bop with the joyousness of swing. He plays
though, tuneful tenor, and his trumpet playing is as confident as
his tenor playing.” |
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* * * * * JAY’S COMMENTS: The Musicians: Chuck Israels is a bass player that
I've gotten to know well and I think he is great! Come to think
of it, so did Bill Evans, Bud Powell, John Coltrane and other musicians
who worked with him. The Music: “Blues for McVouty” is one of my two
originals. The head is based on Lester Young's opening statement
on “DB Blues”. DB is short for Detention Barracks in reference
to Lester's problems with the U.S. Army. The rhythm section really
gets down to business and sizzles from the very first note. Cedar
is a really great blues player --- probably his Texas roots showing
through. Chuck Israels shows us that he is still an innovator and
one of the great bassists of modern jazz. I left my first take tenor
solo on the tape, then a friend transcribed the solo, we arranged
it for tenors and baritone and I then put all the parts down under
the original solo. I'm sure Slim would have liked this tune and
arrangement... post script --- in case you happen to be a Slim Gaillard fan ---
I happen to be a living repository of Slim Stories and Slim Adventures.
Call anytime for them. Vout-o-rooney ! O-roonee-mo!! |
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* * * * * By Doug Ramsey, Jazz Times Thomas, a protégé of Slim Gaillard, named Blues For McVouty in honor of his mentor. But don't expect emulations of Gaillard's hip nonsense. Rather, Thomas provides the modern mainstream satisfactions of his trumpet, flugelhorn and tenor saxophone, which, if he were headquartered in New York instead of Seattle, might have made him as well known as he deserves to be. With the rhythm section of pianist Cedar Walton, bassist Chuck Israels, drummer Billy Higgins and young guitarist Dave Peterson, Thomas plays two originals and a variety of jazz classics and superior standards. His fluidity and control impart a surface smoothness that could lull the casual listener into overlooking the daring of his improvisations, particularly on the valve instruments. In this, he has a good deal in common with Art Farmer and Tom Harrell, although his approach is independent. Two aspects of that approach can be heard in Johnny Mandel's "Close Enough For Love" and Cole Porter's "Everything I Love". In the Mandel piece, taken at a medium walk, Thomas, unhurried and thoughtful, caresses the melody. "Everything I Love" is a romp. It begins with a fine vocal by Becca Duran (Mrs. Thomas) and includes a trumpet solo notable for the agility of Thomas' interval leaps, the uniformity of his tone from bottom to top and the unity of his ideas. Higgins and Walton have impressive solos here. It's good to hear Israels on a new recording, but his bass, except for solos, is a bit indistinct either in the mix or the miking. Peterson seems to have been influenced by Jim Hall and Jimmy Raney, and his solos are delightful. Muted, Thomas is as effective on the ballad "Lover Man" as he is steaming along on Charlie Parker's up-tempo "Big Foot". His flute is not heard on this album. His tenor saxophone is, mostly in ensembles. Solos on "Detour Ahead" and "Love Letters" however, disclose a tenor tone with nearly the clarity of his trumpet but a solo conception more restrained. It has been seven years since the last Jay Thomas album.The next one should come much sooner. While it's good to hear him with established stars like Walton, Higgins and Israels, how about Thomas and accomplished Northwest players in addition to Peterson? That other Seattle trumpet/tenor double threat, Floyd Standifer, comes to mind. So do the great pianist Jack Brownlow, Chuck Metcalf, a bassist to be reckoned with, and the interesting young trombonist Jeff Hay. In the meantime, Blues For McVouty is a recording that Slim Gaillard
would be proud of. Rating: four o-roonies and a big bowl of avocado
seed soup with reety-pooty sauce on the side. By Tim Price, Saxophone Journal - January/February 1994 Volume 18 Drop what you're doing and buy this disc now! Jay Thomas plays trumpet, flugelhorn, tenor sax, flute and alto sax like a demon. The music he creates is nothing less than wonderful. This release will verify his position as one of the very best jazz musicians in music today, bar none! To play trumpet and reed instruments is a feat in itself. To play Bud Powell tunes and Bird tunes like a person born in that era is a revelation. Jay's musical coherence, his fearsomely melodic, and virtuosic technique put me in a froth! The rhythm section of Billy Higgins on drums, Chuck Israels on bass and the magic of Cedar Walton will let you know that Jay's choices are happening, from the top shelf too! I love his trumpet playing and his dark round tenor playing. His playing on Bud Powell's Hallucinations is dizzying. Everything he blows is nailed to the groove. Yet his velvety kind of sensibility comes through on Detour Ahead and Lover Man. Jay shows a personal and pleasing ballad approach here, very versatile. I like his constant pushing of harmonic corners, aggressive, yet never hijacking the groove. Cedar Walton's always playing rapid fire bop piano without sounding as if he's breaking a sweat. Back to the star of this date, Jay Thomas. Here is a player improvising
without a net, but entirely melodious. His playing shines through
like a beacon. Without question he is a serious musician with commitment
and bold self-dedication to true jazz. He's a multi-instrumental
player who's multi-dimensional! This is an amazing display of a
wonderful distinct personality whose music will never become tireless.
His are definitive results via highly recommended music. Special
thanks to my buddy Bert Wilson, who had Jay on a Nonet bootleg tape
of a live gig, which turned me on to Jay's talents. Thanks, brother
Bert! By David Dupont, Cadence Magazine - July 1993 Seattle used to be a place considered outside the major music centers,
which probably allowed its music scene in many categories to develop
in such a way that the characterization is no longer true. Still
Jay Thomas' release has a lot of those qualities found on the better
regional releases. One is a sense of playing for love, rather than
money. This comes to the listener as a labor of love not a career
move. On four tracks Thomas teams up with Cedar Walton with whom
he co-led his last date (9/90, p. 82-83). But Thomas is the focus
here. As you might expect of someone who worked with Slim Gaillard,
Thomas blows bop with the joyousness of swing. He plays tough, tuneful
tenor, and his trumpet playing is as confident as his tenor playing.
Just listen, for example, to his negotiation of "Hallucination."
He loves blues, bop and ballads, but he navigates this territory
with a fresh set of ears - nothing sounds hackneyed. Guitarist Peterson,
Israels and Walton provide complimentary solos. As a leader also
has the knack of giving tunes an unexpected twist. The arrangement
of the one vocal track, "Everything I Love" is a masterful,
framed as much as a drum feature as a soft vocal. It kicks off with
just Duran singing over Billy Higgins' brushes with the rest of
the rhythm section gradually mixing in. The piece includes a duet
for Thomas' trumpet and Higgins. Nothing groundbreaking here, just
good fundamentals and fun. |
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