Rounded out by a traditional rhythm section of piano
and drums, the sonic palette is rife with possibilities as Bernstein is
joined on the front-line by violin and/or tuba, baritone sax or bass clarinet.
From the insistent swing of "Ocbo" to the gentle beauty and
lyricism of "Day of the Dark Bright Light," Pavone has crafted
yet another gem. If you have yet to discover this stalwart of the New
York City scene, now is the time and this is the place. His groups have often found a prominent place for brass
instruments, and the combination of Bernstein and Johnson provides plenty
of scope for inventive mayhem on this outing, while also placing a very
broad palette of instrumental timbre and texture at the leader’s
disposal. Burnham's violin adds an intriguing voice to the surging, tumbling
group interplay while the rhythm trio lies frimly at the heart of everything
that goes on in the music, often carrying the melody line while the horns
provide support in an unusual role-reversal pattern. Intense and absorbing
music. ...Pavone finds himself in the company of some of the
East Coast's finest improvisers for a set of compositions that push the
tradition forward while always looking back to its origins. Much like
his stylistic forefather, Charles Mingus, Pavone's notion of Jazz tradition
is playful yet reverent. With intricate, chart driven structures and supple
interaction between the rhythm section, Pavone's music is a multi-layered
splendor. Pavone's bass is certainly at the center of everything,
the core force that drives the piano and drums of longtime comrades Peter
Madsen and Michael Sarin, while perturbing Steven Bernstein's trumpets,
Howard Johnson's bass horns, and Charles Burnham's violin more erratically.
The complexity, even on "Second-Term Blues," is wondrous. A
MINUS. Pavone's music is in constant flux and flow, flying
along the outer edge of the envelope but never losing its grip on the
basics. ...Deez to Blues is impossible to tune out, impossible
to turn down. It demands nothing less than your undivided attention. As a radio programmer, the difficulty with Mario Pavone's
releases is not how to find a cut worthy of play, but how to determine
which cut to play. Always compelling, Mario's compositions and releases
continue to satisfy. It's hard not to compare him with the great Charles
Mingus. He is a consummate bass player, composer and leader. On his new
release, he takes the correlation one step closer, focusing on using the
bass as a lead instrument...and as a leader compels his sidemen to come
up with some of their best performance work. Each tune makes an important
statement, and each player gets a chance to shine on Deez to Blues. Each
time I play the release I'm glad I did...it always contributes to a more
inspiring show. Those who have yet to learn of Mario, need to learn. Laudable bassist/composer Mario Pavone's seventeenth
solo effort provides an abundance of curiously interesting propositions
amid its inherent, entertaining qualities...Pavone stands tall among his
peers with this highly listenable endeavor, featuring off-kilter phraseologies,
fluid rhythms and spirited soloing. ...another example of why I find this guy always worth
listening to. His albums come in and they go to the top of the pile that
I have to be listening to pretty quickly because they're inventive, they're
intriguing and he is a fun writer. And, he's been working with some of
these guys for a long time so there's a great cohesion to the music that
he plays. The fact is, this band always sounds bigger—all of Mario
Pavone's bands sound bigger than they actually are. He gets the most out
of the different colors he can work with and the individual musicians.
I recommend this guy a lot. New to the Pavone orbit are Howard Johnson, a triple
threat on tuba, baritone saxophone and bass clarinet, who provides a welcome
low-pitched anchor, and violinist Charles Burnham, known for his work
with the Odyssey trio, adding string quivers that range from classic Swing
lines to near Old Timey country hoedowns. Returning are subtle drummer
Michael Sarin and pianist Peter Madsen, whose flashing runs wring nuances
from the music without hogging the spotlight. ****1/2...Pavone made wise decisions in terms of personnel
and material. Compositionally, the bassist builds upon contrasts (a skittish
line against a loping groove on "'Zines"), role reversal (piano
and bass state the melody on "Xapo" while the horns trace the
harmonic movement) and giving well-worn forms new elasticity (the woozy
"Second-Term Blues"). Also, he never fails to implant an effective
hook. His sound is woody, bold, and vibrant and seems to
add luster to everyone around him. That's quite an accomplishment when
those around him are so illustrious on their own...Pavone's compositions—six
of the seven tracks are his—give them plenty to chew on...the solos
nest within the ensemble, feeding off the colors around them. On Deez To Blues, a sextet featuring acerbic trumpeter
Steven Bernstein, violinist Charles Burnham and the consummate doubler
Howard Johnson showcase Pavone's quirky, angular pieces in all their idiosyncratic
beauty...each member contributes memorable solo statements. For all the
powerful statements made by the horns, the real show here is in the remarkable
rhythm section...Madsen's piano is both a pliant foundation and a soloistic
force to be reckoned with, while the always tasteful drum work of Michael
Sarin is shown here in all its grace and understatement. Of course, one
would be remiss in neglecting to mention the astonishing contribution
of the leader himself in this memorable outing...especially on "Second-Term
Blues" [Pavone's playing] is razor sharp and will surely draw the
rapt attention of any bass lover. Recommended New Release Recommended New Release The music itself swings without ever being predictable...the
solos are all strong with an edgy 'now' sound about them. And, all the
musicians feel quite obviously at home in this idiom which seamlessly
blends bop and free as well as in and out. Publisher's Pick (March 5th, 2006) This dynamic rhythm team has been together for over
a decade and sound especially spirited, always moving tightly together,
expanding, contracting and shifting like an organic motor...those in the
know should buy this treasure chest of delights. The bassist's contrapuntal writing updates the jazz
tradition in subtle, inventive ways, bending the rules, rather than breaking
them. Pavone's music exudes a living, breathing quality; his sextet is
all ears, as well as muscle. Deez to Blues is a high water mark in a consistently
exceptional discography. Deez to Blues is a triumph for Pavone and a record
that will leave an indelible impression. |