Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Doug Webb Burns His Way Through Another Scene

Doug Webb‘s new album Another Scene ranks among the best from Posi-Tone, including Jared Gold’s organ albums, the Captain Black Big Band album and Ralph Bowen’s awesome Power Play  from a couple of years ago.  This one puts the LA tenor saxophonist out in front of a New York rhythm section with energy to match – you want intensity? You got it. Bill Frisell keeps Rudy Royston in his band because he is what he is, but this unit gives Royston the chance to cut loose in the studio like he does onstage in JD Allen‘s trio. He makes bassist Dwayne Burno‘s job easy. Pianist Peter Zak also gets plenty of opportunities to raise the voltage.

The opening track, Mr. Milo, is a briskly biting, syncopated Miles homage, Webb burning through the whole-tone scale, Zak hitting a similarly highwire intensity as he charges downward. One for Art – a homage to Webb’s late bassist bandmate Art Davis  – is a launching pad for a long, absolutely blistering run by Webb, Zak’s solo over impatient drums that turn loose explosively- and then the band goes back to swing as if nothing happened. OK…for a little while, anyway.

Kenny Wheeler’s Smatter gets a clenched-teeth, scurrying swing and more Royston being Royston – it calms, or at least focuses, from midway on. They do Dave Brubeck’s Southern Scene as a warmly cantabile ballad, Zak rippling over almost wry Royston cymbals, keeping it lush, Webb’s warm solo echoing a Paul Desmond dry martini elegance. Another Step sets Webb and Zak’s energetic hard-bop moves over a disarmingly simple swing; Jobim’s Double Rainbow works the tension between Webb’s balminess and the raw intensity of the rhythm section for all it’s worth. Royston’s cascading waves in tandem with Zak’s solo are absolutely luscious.

Eulogy takes awhile to get going, but springboards an absolutely haunted, wrenching tenor solo from the bandleader, contrasting with the lickety-split romp Rhythm with Rudy. The version of What Is There to Say here is a predictably long feature for Webb, while Verdi Variations playfully pilfers the opera book, both Webb and Zak attacking the themes with more agitation and fire than you would expect. They follow that with a sly, bouncy excursion through Thad Jones’ Bird Song and conclude with a warmly steady take of Benny Carter’s Trust  Your Heart. Webb has come a long way since his days voicing tv characters.

November 29, 2013 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , | 1 Comment

Doug Webb’s New Renovations Takes It Up a Notch

Last summer, jazz saxophonist Doug Webb released an entertainingly trad album titled Midnight. This new one, from the same session, is called Renovations. If we’re in luck, maybe we’ll live to see them reissued together as Midnight Renovations. Intriguing title, huh?

This one is a lot more upbeat, occasionally pretty intense. Buckle your seatbelt – bet you’ve never heard as energetic a version of Satin Doll as the one that has the band jumping out of their socks as animatedly as they do for seven minutes and change here. Besides Webb on tenor, there’s Joe Bagg on piano, Stanley Clarke on upright bass and Gerry Gibbs on drums. Larry Goldings’ casually rippling, summery piano provides an apt backdrop for the languid soprano sax lines on a swaying midtempo version of Then I’ll Be Tired of You – and his organ background comes through fluid and concise, a long solo taking everything up to a crescendo that holds back just thisshort of joyous. An especially amped version of Vernon Duke’s hit I Can’t Get Started, from the long-forgotten film Follies of 1936, has Webb charging hard alongside Mahesh Balasooriya’s express-train piano.

With Goldings manning the throttle again, a tensely swinging I’ve Never Been in Love Before contrasts with Webb’s long, comfortable runway landing, and then brings in some genial blues with the piano. They take Nat Cole’s You’ve Changed doublespeed at just the right random moment; Gershwin’s They Can’t Take That Away from Me, the bluesiest tune here, is also unsurprisingly the most rustic.

Toots Thielemans’ Bluesette is reincarnated, stripped down to what’s basically a rapidfire two-chord jam, Webb’s soprano sax taking a clarinet-like tone, Balasooriya spinning off some wildfire cascades to Webb who takes them even higher: it’s a triumphant pinnacle in an unlikely setting, more than hinting at how much further outside they might be capable of going if they went on longer. The album’s closing cut, Henry Mancini’s Slow Hot Wind – now there’s a title for the moment, huh? – is sort of the mirror image of that, slowly pulsing and sultry, with a geniunely fluid, relaxed solo by Clarke where he doesn’t overvibrato it, Webb’s tenor pushing the caravan along with a stream of eighth notes, Goldings’ dynamics refusing to let the suspense go too far one way or another, Webb finally joining him and they tumble into the vortex. It’s another welcome out-of-control moment – Lisa Simpson, eat your heart out. If you’re wondering what that’s all about, Webb voices her sax parts on the tv show. This one’s out now on Posi-tone.

March 24, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment

Doug Webb Provides Perfectly Lowlit West Coast Ambience

If we told you what character saxophonist Doug Webb plays on tv, that would be distracting. His new album Midnight is probably a lesser-paying situation but it’s just as fun (more about that later). Webb is pretty ubiquitous on the West Coast and has played with everybody: Freddie Hubbard, Quincy Jones, Horace Silver and many others. The setup behind him is interesting: Larry Goldings on piano rather than organ, Stanley Clarke on upright bass instead of electric and Gerry Gibbs adding counterintuitive, understated flash behind the kit. This is a fun session, pure and simple, a bunch of pros prowling familiar terrain: most of the time they achieve a nocturnal, oldschool West Coast cool, but when the good times spill over they ride the energy for all it’s worth.

Try a Little Tenderness breathes some fresh bubbles into a piece that gets flat quickly since everybody plays it. I’ll Be Around (the pop standard, not  the Howlin’ Wolf classic) has a swing wide enough to get a Mack truck through and a genuinely gorgeous, starry Goldings solo. Gibbs works Fly Me to the Moon as a subtle shuffle beneath Webb’s mentholated, opening tenor solo and Goldings’ more expansive spotlight. And it’s cool hearing Clarke, probably the last person you’d expect to get a Ray Brown impression out of, do it with a grin.

You Go to My Head gets a gently pulsing alto-and-piano duo treatment with Joe Bagg on the 88s. The Boy Next Door, with Mahesh Balasooriya on piano, has Clarke seizing more territory as he typically does, Gibbs all too glad to jump in and go along for the ride. Webb’s warm, lyrical alto work sets the stage for another glistening gem of a solo from Goldings on Crazy She Calls Me. They take Charlie Parker’s Quasimodo and set it up straight, Goldings’ unselfconscious geniality giving way to Webb to take it into the shade and then joyously out again. They close with Emily, by Johnny Mandel (who has raved about Webb’s version), a clinic in nuance on the part of the whole quartet, poignancy through a late-evening mist, an apt way to close this very smartly titled album. It’s out now on Posi-Tone. Oh yeah – Doug Webb plays Lisa Simpson’s sax parts on tv. There is a slight resemblance.

September 15, 2010 Posted by | Uncategorized | , , , , , , , , , , , , , , , , , , , , , , , , | 1 Comment