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| Harold Davis (right) watches Seretse Small get down on guitar during the listening party for his new Cd Something Special |
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| vocalist extraordinare Pam Hall |
Showing posts with label flute. Show all posts
Showing posts with label flute. Show all posts
Monday, February 24, 2014
Harold Davis CD launch: A groovy Musical Blend at Chaser's
Harold Davis' latest project is interesting as much for the sub-title as for its indisputably first- rate content. "Piano Ska" is what the multi-hyphenate artist (pianist-vocalist-bandleader-composer-producer) has dubbed this 14-track opus, dubbed "Something Special"
And for those present at New Kingston's Chaser's Cafe on Sunday last, that's exactly what it proved to be. With sterling contributions from an expanded band and several special guests, Davis and "the crew" as they were referred to, more than did justice to the ska standards (Skatalites mostly) that constitute the bulk of this programme. I'll have a full review soon
Monday, January 27, 2014
Dennis Rushton Group @ Regency bar & Lounge....Serious Musical Fun
its a most rewarding scene for an audience, whether composed of aficionados or musical neophytes, to hear musicians who not only have ability, but are clearly enjoying themselves.
Such was the scene last Thursday evening at the tony Regency bar & lounge, the Terra Nova's category-defining upgrade of its former El Dorado Room. Dennis Rushton on piano, Paul Madden on bass, Obed Davis on drums and Ian Hird on alto sax and flute treated a very receptive gathering to a night of rumbling resonance, sharp stick work, sonorous keyboard runs and plangent horns.
No surprises on the set list, of course. Starting with the Joe Zawinul-Cannonball Adderly classic Mercy Mercy Mercy and encompassing Nat King Cole's "L-O-v-E" Spyro Gyra's "morning Dancer" and "Blue Monk" among others. It is part of the commercial aspirations of the project, after all, to set a familiar and refreshing scene for the executive, professional and self-made types who gradually brought the room to near capacity over the course of the 3-set show.Conversations of all types were conducted in the chic lounge and on the adjoining terrace. A multi-screen plasma composite, mounted on the far wall facing the entrance showed muted hip-hop/r n'b videos, and ironic counterpoint to the music on the floor.
That said, musical aspirations were undoubtedly met, and the interplay between the four - all longtime fellow travelers on the city's cocktail music circuit - was palpable and made for a hugely enjoyable evening. Madden and Davis have grown beyond even their considerable talents of a few years ago - Madden coaxing deep resonance from the irridiscent strings of his instrument. Davis meanwhile continues to show the fruits of continuous application and study of the trapset - offering bursts of speed and power without sacrificing musicality nor slipping too far from his bandmates. His work on the high-hat was particularly distinguished on the night.
While working the flute on a couple selections, Hird reeled off some tart alto sax runs, including one extended solo that literally brought all other proceedings to a halt and elicited cheers from even the white-jacketed bartenders behind the counter. Leader Rushton smartly worked a modulated version of his more outre show mode - offering tasteful fills punctuated, rather than obliterated, by appropriate flourishes.
This show was the third since the inauguration of the weekly series, the prior ones sadly missed by this writer. Not that it was even needed, but the night's performance provided ample incentive for more consistent attendance going forward.
Such was the scene last Thursday evening at the tony Regency bar & lounge, the Terra Nova's category-defining upgrade of its former El Dorado Room. Dennis Rushton on piano, Paul Madden on bass, Obed Davis on drums and Ian Hird on alto sax and flute treated a very receptive gathering to a night of rumbling resonance, sharp stick work, sonorous keyboard runs and plangent horns.
No surprises on the set list, of course. Starting with the Joe Zawinul-Cannonball Adderly classic Mercy Mercy Mercy and encompassing Nat King Cole's "L-O-v-E" Spyro Gyra's "morning Dancer" and "Blue Monk" among others. It is part of the commercial aspirations of the project, after all, to set a familiar and refreshing scene for the executive, professional and self-made types who gradually brought the room to near capacity over the course of the 3-set show.Conversations of all types were conducted in the chic lounge and on the adjoining terrace. A multi-screen plasma composite, mounted on the far wall facing the entrance showed muted hip-hop/r n'b videos, and ironic counterpoint to the music on the floor.
That said, musical aspirations were undoubtedly met, and the interplay between the four - all longtime fellow travelers on the city's cocktail music circuit - was palpable and made for a hugely enjoyable evening. Madden and Davis have grown beyond even their considerable talents of a few years ago - Madden coaxing deep resonance from the irridiscent strings of his instrument. Davis meanwhile continues to show the fruits of continuous application and study of the trapset - offering bursts of speed and power without sacrificing musicality nor slipping too far from his bandmates. His work on the high-hat was particularly distinguished on the night.
While working the flute on a couple selections, Hird reeled off some tart alto sax runs, including one extended solo that literally brought all other proceedings to a halt and elicited cheers from even the white-jacketed bartenders behind the counter. Leader Rushton smartly worked a modulated version of his more outre show mode - offering tasteful fills punctuated, rather than obliterated, by appropriate flourishes.
This show was the third since the inauguration of the weekly series, the prior ones sadly missed by this writer. Not that it was even needed, but the night's performance provided ample incentive for more consistent attendance going forward.
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