Intakt Records

Respect for Your Toughness

The history of the saxophone trio may not be as well documented on record as that of the piano trio. Undoubtedly though, there is no shortage of all-time classics gracing the genre’s continuing story, from Sonny Rollins’ Village Vanguard 50s recordings to this new and delightful offering by the Chris Speed Trio. On this 10-track album, the trio lets loose with freewheeling blowing and honed-in chemistry, keeping things stripped down and tight.  Chris Speed has a lithe tone that almost sounds “classical” in its delivery despite the sinuous lines he plays on the tunes. The two other thirds of the trio, namely drummer Dave King and double bassist Chris Tordini, complement the sound with a deeply anchored foundation that’s propulsive and engaging throughout. The album starts off on a quiet note with “Can this be love?”, Speed weaving his way around the melody with sparse lines moving along in fits and starts, King and Tordini embracing the spaciousness of the mood with subtle rhythmic and harmonic counterpoint. Notice how Tordini casually restates the melody at various points “under” Speed’s brooding soloing. Soon enough, “Attention Flaws” kicks the mood up with drums and bass locked into a solid groove that Speed is only too keen to build on. Credit must be given to King and Tordini for having an infectious beat that keeps the music firmly grounded and loose at the same time. “Helicopter Lineman” has a driving vibe somewhat reminiscent of Joe Henderson’s tune Inner Urge, swinging hard and reveling in tension and release. The record has an immediacy that may equally please the modern jazz fan and the layperson.  Ranging from the subdued to the exploratory, the album packs in many nice tunes, oftentimes simple sparse melodies with a compelling rhythmic figure. “Taborn to Run”, presumably an homage to fellow musician, pianist and composer Craig Taborn is a case in point. King builds a very busy and fast beat while Tordini lays down a slow motif against it, allowing Speed to dance around those, picking up ideas from both.  “Yard Moon” sounds like a rhythm changes tune naturally bent to the purposes of a modern-day odd-meter vehicle. Well done. “Transporter” is a fitting coda. The melody sounds like an indie rock tune from the 90s, played here like a gentle ballad, each instrument fading out to silence. With no song exceeding 6 minutes, the band does get a story told on each track and has enough space to develop ideas as a collective.

An unpretentious and inspired record by a great trio.

Respect for your toughness is out on Intakt Records.

Check out their previous albums Really Ok and Platinum on Tap.

Other notable contemporary saxophone trios for your consideration:

Fly trio (Mark Turner, Larry Grenadier, Jeff Ballard), JD Allen trio.  

Classic saxophone trio albums:

Sonny Rollins, A Night at the Village Vanguard (Blue Note,1957)

Lee Konitz, Motion (Verve, 1961)

Ornette Coleman, Golden Circle, Town Hall 1962…

Golden Valley

Reid Anderson, Dave King, Craig Taborn, GOLDEN VALLEY IS NOW

This is a godsend. Good music, like all things good, defies easy categorization. That the music on this first album was composed by such maverick figures as Reid Anderson and Dave King – of The Bad Plus fame – and like-minded composer/pianist Craig Taborn, immediately catches the music lover’s attention.  To top it all off, the three Midwesterners have known each other since they were teenagers, so getting together to make and release a first album at this particular time feels like a long overdue no-brainer. It’s coming out now for a reason. It took 25 years to come to be.

Bassist Reid Anderson is on the electric bass and electronics for this album, an appropriate choice for the rock-ambient soundscape unfolding across the ten tracks, and an ideal companion to Craig Taborn’s array of acoustic and electric keyboards. Dave King plays both acoustic and electronic drums, and fans of the versatile drummer will no doubt recognize his deft touch on the kit.

So, what shenanigans did the three friends forming this triumvirate pull this time?  In a nutshell, music that sounds immediately familiar, poppy, accessible, and yet so unclassifiable.

The opener “City Diamond” sets the tone for an album that meshes pop catchiness with jazz braininess, and before you know it, you’re nodding your head to its simple melody,  glossing over the broiling rhythmic foundation of Anderson and King, tossing curveballs left and right.

“Sparkles and Snakes” sounds like an 90s indie rock anthem Sonic Youth could have written while jamming out during the making of their Dirty album. Minus the shifting time signature and Taborn’s electric guitar-like synthesizer.

When it comes to acknowledging and embracing your musical roots regardless of genre and synthetizing them into a full-fledged offering a quarter of a century later, this comes close to perfection. Having grown up in the same cultural and musical environment, the three friends have a common ground to explore and do so with unrestrained enthusiasm and a keen sense of composition.

On the spacy slow-burner “This Is Nothing”, the music simmers out of a dream, plodding along to an unmapped destination. Taborn’s seemingly detuned organ-like keyboard keeps the mood spooky and vibrant at once.

The album has an enveloping quality that takes the listener on a dreamy adventure but not one where the brain just goes to sleep. Arguably all the tunes are hooky in a pop kind of way, but they all have a specific shape and unlikely foil that makes them more than what they seem to be on first listen. You’d expect no less from three experienced musicians equally at ease with jazz improv, 20th century classical modernism, alternative rock and what not.

“Polar Heroes” is a testament to these musicians’ surreal capacity at stacking blocks of sound and paring them down to their essential core. The song remains airy while building up momentum all the way through.

Now “You Might Live Here” is quite something. It has the kind of definitive inevitability that will make you wish you had grown up in Golden Valley, Minnesota, – small town America where three kids playing out of their garages somehow envision a path toward quality music. King’s four-to-the floor beat and Anderson’s even-note bass line bring to mind mainstream 80s pop dance music and make it sound actually lovable, eroding the strongest biases you may have against the 80s sound. Don’t hold back, eat your cotton candy and go for a joy ride.

For music that pulls on such a wide variety of influences, the album is tied together by a unity of vision and purpose: the fun of making music with your friends that celebrates common roots and textural diversity. On “Hwy 1000”, King’s Aphex Twin-style skittish drumming powers the layered motifs down a Californian – in fact Midwestern – road stretching away into the distance. You’re zipping along, windows down, but as usual, it’s not about the destination, it’s about the trip.

I have not read any reviews  for this album as I didn’t want to be influenced in any appreciable way. If you somehow stumbled on this post, here’s my recommendation on a long commute, or just any time of the day. Play this album through and just enjoy the vibe. Golden Valley, wherever you are, some talented musicians picked up on your hidden treasures. It’s about time.