It makes sense that Dave Douglas's major-label debut should be his most accessible recording yet. Soul on Soul's user-friendly quality stems not only from its standard jazz instrumentation (trumpeter Douglas, pianist Uri C... more »aine, trombonist Joshua Roseman, bassist James Genus, drummer Joey Baron, and either Chris Speed or Greg Tardy on reeds) but also from its inspiration. As he had with earlier albums devoted to Booker Little (In Our Lifetime), Wayne Shorter (Stargazer), and Joni Mitchell (Moving Portrait), Douglas pays tribute to big-band arranger, boogie-swing pianist, and sacred-jazz composer Mary Lou Williams by revamping her tunes and creating new compositions in her style. The young trumpeter neither slavishly imitates the legend nor obscures her. Instead he uses her materials--orchestral harmonies, bluesy syncopation, sophisticated gospel--as the building blocks for his thoroughly modern music. The instinctive improvisations always evolve organically from the cerebral compositions, and the solos always find unexpected detours before coming home. A great album. --Geoffrey Himes« less
It makes sense that Dave Douglas's major-label debut should be his most accessible recording yet. Soul on Soul's user-friendly quality stems not only from its standard jazz instrumentation (trumpeter Douglas, pianist Uri Caine, trombonist Joshua Roseman, bassist James Genus, drummer Joey Baron, and either Chris Speed or Greg Tardy on reeds) but also from its inspiration. As he had with earlier albums devoted to Booker Little (In Our Lifetime), Wayne Shorter (Stargazer), and Joni Mitchell (Moving Portrait), Douglas pays tribute to big-band arranger, boogie-swing pianist, and sacred-jazz composer Mary Lou Williams by revamping her tunes and creating new compositions in her style. The young trumpeter neither slavishly imitates the legend nor obscures her. Instead he uses her materials--orchestral harmonies, bluesy syncopation, sophisticated gospel--as the building blocks for his thoroughly modern music. The instinctive improvisations always evolve organically from the cerebral compositions, and the solos always find unexpected detours before coming home. A great album. --Geoffrey Himes
"I really do reserve that title for only one album every year. Now maybe my views will change by December 31, but I doubt it. First things first: even at his most accessible, Dave Douglas is not very accessible on first or second listen. But the more I listened to this album, the more I realized that these compositions are brilliant; these musicians are playing at the top of their game; and that they are interacting telepathically with one another. By the fifth listen or so, my ears were finally catching up to the wonderful music that these guys were hearing as they made the album. It was then that I realized why this album really is a heartfelt tribute to Mary Lou Williams. Sure, before that I knew that Douglas had thrown in some superficial tributes: for example, a few tunes were written by Mary Lou, and several tracks (most notably, Soul on Soul) incorporate stride piano lines and bebop licks and other styles that Williams played during her long career. But after repeated listenings, I realized that the real tribute comes in the nature of the music itself: it is highly experimental and deeply spiritual, which is precisely how I would describe Mary Lou Williams at her best. It is jazz and yet not jazz. It is soulful, but not in the Motown or even Judeo-Christian sense of the term. Douglas's life experiences are obviously not the same as Mary Lou Williams', but he brings to his music the same passion and self-assured identity that Mary Lou Williams brought to her music. It is hard to explain if you have not experienced it; just an overwhelming sense of peace and contentment that stems from the musician's confidence in his craft and where he is in his life. That quality enables the listener to enter the music, to get inside of it in a way that (in my experience) only Mary Lou Williams could duplicate. The music is all his own, which paradoxically is his real tribute to Mary Lou Williams."
Dave Douglas does it again!
Mr. T. Haillay | 02/18/2000
(5 out of 5 stars)
"On this, the third of DD's sextet recordings, he uses the music of Mary-Lou Williams as a springboard for his own compositions. The results are magnificent, from hard-swinging reinterpretations of M-L W, to more ruminative originals. The band are on fire, Joey Baron, James Genus and Uri Caine are in superb form; the sax chair is shared between Greg Tardy and the great Chris Speed (check out his Deviantics recording on Songlines); Josh Roseman is fantastic as ever (what a sound he has!). Dave Douglas can seemingly play what he wants, he has the chops to do anything, and what taste... This is vital, important music. Buy it!"
Elevating (not elevator) music
Mr. T. Haillay | 04/05/2000
(5 out of 5 stars)
"This is the album of the year, so far. Dave Douglas' compositions shine, thanks to the brilliant playing of these musicians, who represent the New York axis of cutting-edge jazz. Although this may be perhaps Douglas' most accessible work, it does not pander. Whether the tune is "in the groove" (Mary's Idea or Blue Heaven), a ballad (Kyrie or Canticle), or on the progressive side (Soul on Soul), Dave & co. present it in an intricate, yet uncluttered style that may bounce around the musical spectrum, but never stops swinging. This is serious music for serious listening, but I also find it to be very relaxing, even with that second cup of coffee. As for reviewer Douglas,listed below--a few simple mouse clicks will bring you to the Kenny G/Dave Koz pages, where the music should be more to your "taste"."
Look out Wynton ...
Troy Collins | Lancaster, PA United States | 05/16/2004
(5 out of 5 stars)
"Dave Douglas, best new talent in the jazz camp? I'd vote yes in a heart beat. After 6 years in the multi label indie scene, seems this trumpeter had finally graduated to the majors. Decried by some as a deal that may squash his prolifically creative output, Douglas' signing with RCA/BMG to their jazz imprint brought this enormously creative individual's music to a wider audience. And I say good for him. Bill Frisell has followed his muse quite successfully for years on Elektra/Nonesuch and I can see Dave following in kind as long as his label stays true to their proposed mission to release cutting edge jazz.Dave's first offering for the label is a sextet recording dedicated to Mary Lou Williams. His two other sextet albums were conceived as dedications also, previously to Booker Little and Wayne Shorter. In contrast to the average jazz tribute recording though, Douglas' sextet recordings shy away from slavish cover tunes and feature more "inspired by" original compositions.This tribute finds the group in great form with a diverse set list that goes from the BlueNote inspired soul jazz of "Blue Heaven" and dixielandish swing of "Mary's Idea" to multi faceted "out" pieces like "Multiples" and afro-cuban grooves such as "Play it Momma". The playing on this album comes from a more compositional standpoint than some of Douglas' other smaller groups. Here the solos are generally shorter and more concise than on some of his smaller group recordings. When the soloists are freed from their time restrictions though, they shine. Uri Caine's piano solo on the title track is a glorious condensing of jazz history all in a few bars, blurring the line from stride to 'out' playing. As with previous sextet albums, this one has the same jubilant playing of everyone's favorite smiling drummer, Joey baron. He absolutely kills on this album. New reed player Greg Tardy makes a fine debut and will fill the void soon to be left by Chris Speed's departure. Josh Roseman and James Genus round out the line up and are quite impressive in their own right. As for the leader's trumpet playing, what needs to be said, it is great of course, multi-stylistic in it's references and techniques, but he has a very distinctive sound and timbre developed, he has his own "voice".Anyone interested in hearing the best that contemporary jazz can offer, with an ear towards this side of tradition would do well to check out "Soul on Soul"."
A great tribute
p dizzle | augusta, georgia, USA | 08/25/2000
(4 out of 5 stars)
"dave douglas plays trumpet in an avant-bop style, at times sounding like miles davis, but fully capable of lester bowie or don cherry explosions. here, the old standard "i cover the waterfront" is appropriate: the range is from blues to bop to free jazz, a fitting tribute to ms. williams who could also play a variety of styles from gospel to big band. this album falls into two parts. the first six tracks are mr. douglas originals, save #6, and are explorations of ms. williams style and interpretations of blues and sacred themes, all with explosive solos and fine group improvisations. highlights are the opening blues "blue heaven" and the mystical meditation "moon of the west." the second half seems to be more straight tribute to ms. williams, but with the douglas touch. straight themes are bent and turned, but soon the group brings everything back to ground zero. highlights here are "zonish" and the closing "play it momma." a great set and major label debut."