Displaying news from 1 September 2005 to 1 October 2005.
some great stuff has come out recently regarding the respect sextet's newest recording, Respect In You:
Hailing from Rochester, New York, The Respect Sextet sounds like some enthusiastic cousin of Boston's Either/Orchestra or San Francisco's Club Foot Orchestra. Here's why: Respect is, obviously, a collective endeavor, but they've refused to drop anchor in one musical spot. They open Respect in You with undersung Chicago tenor champ Fred Anderson's "3 on 2," which moves in undulations led, fittingly, by Josh Rutner's tenor. It's a bold opener, because it doesn't chug but rather sets a wavy, episodic mood. And this brings the Respect crew back toward the methodologies of Club Foot and Either/Orchestra, bands that are comfortable playing rollicking, driving tunes or atmospheric film scores. Respect isn't content to simply set moods, though. They barrel and swing through trumpeter Eli Asher's "Nation's Capital" and Rutner's "Postal," both designed to show the band's ability to push rhythms with frontal horn leadership. Asher's trumpet can fray and spatter only to fatten again in a second, and Rutner's tenor favors a warm middle that serves the band superbly. For his part, Matt Clohesy's bass is nimble in the highs and rumbly where the need for breadth is prominent. Drummer Ted Poor follows suit, snapping off snare runs with a relish that also feeds his more shadowy rhythmic pushes. In short, he and the rest of the band have a fine ear for range. They make the great pianist Misha Mengelberg's early piece, "Hypochrismutreefuzz," sound like a chamber work that's scrabbling for clarity even as it builds and builds the ear's anticipation. Then the band takes over as a unit, with pianist Red Wierenga comping like Misha, Poor riffing on his hi-hat, and an aerated whiff of noise emerging from a wayward transistor radio. Often spacious, and equally often crowded with boisterous passion, Respect in You revels in some great post-free, architecturally exciting play.
Andrew Bartlett (Coda Magazine)
and:
Last year, Exclaim!’s number one improv release was Home Speaks to the Wandering by Dead Cat Bounce. The Respect Sextet trod very much in the same musical territory featuring soulful, harmonically challenging riffing within freedom and grooves. The Sextet seem to be conversant in every shade of jazz, and create long form suites which never seem too over-analysed. The disc opens with a 15-minute version of Fred Anderson’s “3 on 2.” The first few minutes feature the band building to spiritual freedom, anchored by Anderson’s no-nonsense melody. By the time the funk hits about seven minutes into the track, it’s merely a bonus to the highly-spirited and soulful collective improv. Over the next eight minutes the band ebb and flow back into the increasingly New Orleans-informed rhythm of drummer Ted Poor. Trumpeter Eli Asher’s “Nation’s Capital” starts out as a page from the Ornette Coleman songbook, but settles into a long homemade percussion jam which recalls the go-go sound of the nation’s capital in the ’80s. The Sextet are consistently successful at teasing grooves out of textures and holding them down at low dynamics. Any one of these tracks could work in a commercial jazz radio format, because they swing hard in the tradition, but they’re always willing to other planes at any moment. It’s not music that is trying to be experimental, it just goes off… Highly recommended.
David Dacks (Exclaim! Magazine)
there should be a review coming out in the newest downtown music gallery newsletter, as well as cadence magazine! keep your ears to the ground for that as well as some upcoming respect sextet gigs!
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