WHIRLED
JAZZ
Mukilteo
Louie Records
020
Negating the old adage that those that can do, those that can't teach,
a couple of Oregon university professors have created this fully professional
session, which is as straightforward as it is unpretentious.
Containing elements of post bop, outside sounds and West Coast cool, Whirled
Jazz seems to comfortably fit all three elements into its conception.
A lot more than an after-school indulgence, Whirled Jazz could easily
hold its on anywhere in the Pacific area, but, of course, can't be compared
to full-time, exploratory groups that exist in larger centres like the
Bay area and Vancouver, B.C. Member of the popular, local Tone Sharks
band, alto saxophonist and flutist
Tom Bergeron, who also wrote all the music here, has a day job as professor
at Western Oregon University (WOU). Also a teacher at WOU, trombonist
Keller Coker is even a University of Southern California jazz studies
graduate, though that shouldn't be held against him. Bassist Page Hundemer
went to Boston's Berklee College and has played on most CDs on the Louie
label, which happens to be owned by discriminating drummer Dave Storrs,
another Tone Shark.
As light and biting as saltwater spray, the music here gets much of its
impetus from the trombone-alto saxophone blend. Many times, as on "Pacific
Crest" and "Tadasana" --the two longest tracks -- the front
liners appear to harmonize on similar notes, octaves apart of course.
Here, as elsewhere Bergeron's tone seems to be 21/2 parts Cannonball Adderley,
11/2 parts Phil Woods plus a tincture of Ornette Coleman. Flute flights
are less impressive since on his one feature, "Radiance", he
doesn't seem able to transform the almost weightless, practically legit
tone he produces. Plus the trombone flute blends sounds awkward, sort
of like a tuna mating with a minnow.
Bergeron's writing is particularly impressive throughout, however, lightly
--there's that word again -- swinging, and with several pieces switching
from a striding to a speeding tempo mid way through. Lithe, smooth and
speedy as if he's playing a valve instrument, Coker never seems to lose
his cool. This is especially apparent on "Tadasana", where a
plunger section suggests clean Pacific water a lot more than the dirty
Mississippi river. This tendency is even more apparent on "Frunkin'",
which while well played would never be confused with any tune that arose
out of the Chitlin' Circuit.
Thoroughly modern, Hundemar produces an in-your-face bass line that can
easily be heard through the other instruments' work, though whether that's
the result of his fingers or Storrs's engineering is another question.
Often called upon to introduce the compositions, sometimes he strums his
bull fiddle like a guitar. Still he realizes that it's his job to accompany
the soloists, not overpower them with macho Jaco Pastorious-like posturing.
Perspicacious and unassuming, Storrs hugs the background as well, usually
coloring the proceedings with some buoyant percussion asides rather than
full-bore drum artillery.
While MUKILTEO is no world-beater, it's a pleasant enough romp that will
probably be appreciated by many people. More importantly it shows that
at least where music is concerned, those who teach, can.
-- Ken Waxman
Track Listing: 1. Mukilteo 2. Huan-San 3. Pacific Crest 4. Tadasana 5.
Frunkin' 6. Radiance
Personnel: Keller Coker (trombone); Tom Bergeron (alto saxophone and flute);
Page Hundemer (bass); Dave Storrs (drums)