Richard Nelson's big deal

In cool Pursuit
By SAM PFEIFLE  |  June 8, 2011

While it's seemingly becoming commonplace for one musician to play 13 different parts or instruments on a studio album, it's getting pretty rare to hear an album featuring 13 musicians all playing at the same time. Eleven years into local CD reviewing and I'm pretty sure that Pursuit, guitarist Richard Nelson's third album, is the first to feature a jazz ensemble of this size and scope. It's a pleasure to listen to.

A throwback to any number of jazz periods over the last 50 years, the five-movement, 36-minute composition Pursuit, with all 13 pieces recorded live (you can hear the applause for solos, along with a cough or two), makes up the bulk of Nelson's new album. Tacked on at the end is a pair of tunes he put together with his Quintet, which is a subset of the larger ensemble. Associate professor of music and head of the composition concentration at the University of Maine at Augusta, Nelson here is documenting what must be considered a significant American composition.

It opens, with "Portal," about as old-school as you can imagine, Don Stratton's trumpet solo recalling the Beats and Mediterranean villas before Cassidy Holden enters with a bowed bass and Steve Grover sets the mood with light cymbal work. From there it gets much more active, building by the 4:00 mark into piercing blasts and a thunderous entrance from the collected horn section.

There is some traditional "big band" jazz work in the finish, before they move into "Innocence," which features Grover, especially, working frenetically between coordinated multi-note moves from the collected band. Listen for the way the hollow of the floor toms is contrasted with the sibilant hiss of brushes on the top of the snare.

The following "Search" and "Azure" are probably the most easily accessible. The former features Holden's bass in the open, creeping like a nefarious comic book character, before giving way to a squawking, lamenting, sometimes tortured soprano-sax break from Tim O'Dell, which is supported by Nelson's guitar, the first time we've really heard it.

Nelson here introduces with his wicka-wicka a more R&B vibe, a head-nodding bit that's pretty damn Shaft, with booming horn lines and a foot-tapping backbeat.

"Azure" is slinkier and sultry, with Frank Mauceri's tenor-sax line keeping things vampish and come-hither. Holden's bass lines here are so good you know how to punctuate with your hand as you're listening before you've even heard them. You can feel them coming. Then Bill Moseley comes in with a flute that's a palate-cleanser like lemon sorbet, airy and pretty and full of melody in contrast to the bleating horns.

Moseley carries the group into the finishing "Strive," where Nelson finally lets himself take the lead, almost elbowing his way to the front through a piece of swing, then some bop-style stuff. As the only "electric" instrument, Nelson's guitar stands out sonically like a beacon, which is, I suspect, why it's not more prominent in the backing. It doesn't have an option of just playing along and being subtle.

1  |  2  |   next >
  Topics: CD Reviews , University of Maine, Augusta, Richard Nelson,  More more >
| More

Most Popular
Share this entry with Delicious
  •   FIRST SECOND COMING  |  August 22, 2014
    Hey, look, I Discovered a Planet
  •   THE CRUNK WITCH THAT THEY ARE  |  August 14, 2014
    Three albums in, Crunk Witch are now far more than novelty. The all-digital, husband-wife duo of Brandon Miles and Hannah Collen have created enough material at this point to establish a clear method behind what can sometimes seem like madness.  
  •   FIRE ON FIRE  |  August 07, 2014
    From the varying deliveries and styles through the three fully instrumental tracks, there’s a lot to consider in Pyronauts , with equal attractions in playing it loud in the car with the windows down and in the headphones.
  •   HIP HOP SUMMER  |  July 31, 2014
    For pure output, it’s hard to argue Portland is anything but a hip hop city.
  •   SEVEN-MAN ARMY  |  July 24, 2014
    Lately, it’s been open season on “Wagon Wheel,” which has become the acoustic musician’s “Freebird,” one of the very few songs that people actually know well enough to find it funny to request.

 See all articles by: SAM PFEIFLE