Saturday, December 16, 2017
Those who can't, teach.
That old saying seems to be obsolete in the world of contemporary jazz. So many of these new jazz releases I've been reviewing are fronted by academics, usually musicians who head departments of Jazz Studies at major universities. I just received a pile of CDs from the University of North Texas, for example, and they are very serious about their jazz department. But before I get to those, I have this rather low-profile CD to review from the Professor Emeritus of Jazz Studies at the University of Cincinnati, Phil DeGreg. I refer to this CD as having a low profile because I've had it in my possession for a few weeks now, and I haven't really given it much time until now. That was a mistake.
Pianist Phil DeGreg, along with bassist Aaron Jacobs and drummer John Taylor, have created a simple, compact jazz masterpiece with Queen City Blues. Sure, it's just a recording of a jazz trio. Sure, they're playing the usual mix of standards and originals. On the surface there's nothing extraordinary about this Cincinnati trio, but when you crawl inside you'll find plenty to celebrate.
First, the sound quality is spectacular. It's not hard to make a jazz trio recording sound great. But this is a redbook CD that's been self-released, which probably means with the help and direction and funding from the university. And sound-wise it's a reference disc. Jacob's bass is woody and dense and full of individual timbres that contribute to such a fleshed-out sound. Taylor's drum set shimmers and booms and is so dynamic, despite the fact that he has an understated style that emphasizes his deft work on the hi-hat and cymbals.
And then there's DeGreg. He's a great player, of course, steady and quick and genial. He's strong on melody, on being in service to the tune. But I'm hearing all those wonderful cues in space that signal a great recording reproduced on a great sound system--the way the notes emerge from different areas of the sound board, the way those same notes float out into the room and blossom in strength. I can almost imagine him playing this CD in the classroom, telling the students that this is the way to do it--if he does say so himself. Highly recommended.
Friday, December 15, 2017
Gabriele Tranchina's new CD, Of Sailing Ships and the Stars in Your Eyes, has a lot in common with the Veronneau album I reviewed yesterday. Both singers specialize in jazz, but they have unusual voices for the genre--Lynn Veronneau has a relaxed, folk-rock voice that reminds me somewhat of Carole King or Joni Mitchell, while Tranchina has a thinner and slightly more plaintive voice that makes me think of Astrud Gilberto. That's certainly not a knock, since Gilberto's voice was so charming that she's still a legend after singing one song 50 years ago. (Let's not forget that the others who performed on that album weren't exactly chopped liver.)
Another similarity between these two modern albums is that, like Veronneau, Tranchina has her talented husband nearby for musical support. That suggests a certain synergy between performers, also known as love, and it's presumed that should carry over into the music. Joe Vincent Tranchina provides layer after layer of keyboards throughout these twelve tracks, piano, Hammond B-3 and programming. That said, this is album heavy with percussion. That gives more than half of the album a distinct Latin feel.
On the other half of the album, Trnachina's voice is the star. I've suggested it isn't the richest or most sultry voice you'll hear in jazz, and I am hearing more processing in the recording than usual for a jazz album, but her voice does become more impressive once you scoot in for a closer listen. First of all, she sings in multiple languages on this album--French, Portuguese, German, Italian and of course English. On a beautiful Cormon/Carre arrangement of Bizet's "Je Crois Entendre Encore," the show-stopper of the album, you'll hear Tranchina at her most committed. Every syllable is like a long, soft kiss--I wish more of the album consisted of this kind of music since it's more suited to her.
Another slight knock? Perhaps. There are some missteps here, most notably some Middle Eastern scatting on "A Song for India" that veers a little close to nasally cliches. (Instrumentally, however, the song is more intriguing with its atypical layering of keyboards that almost reminds me of Dead Can Dance.) The title track is a skip-over--the melody makes her sound a little flat. I think another problem, as I've already suggested, is in the recording of Tranchina's voice. At times it's buried in the mix. That's unfortunate, since I do think she's an interesting singer, and perhaps a different approach might have made a bigger first impression.
Thursday, December 14, 2017
Not all jazz/female vocal albums are created equally, although it does seem that most of them are aiming squarely at sultry, romantic and nostalgic. Some model themselves after Diana Krall and her album theme du jour, and others may go for the more purist approach, say Julie London (my preference). I hate to break it down to those two extremes, but whenever I hear a female vocal album these days it seems like they're targeting one or the other. Sure there are exceptions--Lyn Stanley's The Moonlight Sessions Vol. 2 is the obvious example of someone trying to do something truly new with the Great American Songbook. But over the last year, these standouts are becoming quite rare.
If you want to get my attention, in other words, you have to do something different. It's one thing to have a wonderful singing voice, but it's quite another to carve your own niche in a well-traveled genre. You don't have to be crazy or unorthodox, just distinctive. Just a few minutes into Veronneau's new CD, Love & Surrender, this jazz trio had my attention. I don't even want to call them a jazz trio--that pigeonholes them. This trio, which consists of singer Lynn Veronneau, and guitarists Ken Avis and David Rosenblatt, is different because they're "doing their own thing," meaning that they're covering a lot of interesting tunes, throwing in some originals, and really finding unique strengths in each melody.
What's most striking about Veronneau the band, obviously, is Veronneau the singer. Lynn Veronneau has a lovely, rich and expressive voice that, for lack of a better word, is genuine. She's putting herself into these songs without gimmicks, and without affectation. It sounds like a cliche to talk about "singing from the heart," but how many singers these days are hyper-aware of the uniqueness of their voice and how they have to sell themselves to audiences, record labels and the like? Veronneau (the singer) sings as if she has no idea anyone else is listening. It's almost like we "catch" her singing and she gets all embarrassed and apologizes and explains that she didn't know anyone else was around. She's singing because she loves to sing, because it's her natural state of being.
Avis (Veronneau's husband, by the way) and Rosenblatt are fine company for her lovely voice--the dual guitar approach is delicate, beautiful and matches the singer's sense of spontaneity. There are also plenty of other guest musicians who provide a fuller and more satisfying feel to songs such as Serge Gainsbourg's "La Javanaise" and Jim Webb's "Moons a Harsh Mistress." Dave Kline, whose Shifting Borders I just reviewed, creates a strong presence through multiple tracks on his violin.
As different as Love & Surrender is, it's not revolutionary. It's sweet and relaxing--it's more Carole King and Joni Mitchell than Krall or London or anyone else out there. It's slight and sunny, but in a completely charming and unique way.
Tuesday, December 12, 2017
In my review of bassist Reggie Young's Young Street, I mentioned that the wide variety of tracks were inspired by the sounds Young heard in the streets of New York City. Jeff Dingler, another bassist, was inspired by the same thing in his new album In Transit--the music he heard while walking around New York City. Dingler, however, spends equal time there and in Ethiopia, and those very different places set the mood for this collection of eight original tracks.
Middle Eastern and African influences are hardly new to the world of jazz, as anyone who has listened to "Caravan" knows. But Dingler is able to combine exotic themes with a profound sense of what it means to be home, especially when home can exist in two places on opposite ends of the planet. Dingler and his quartet (guitarist Brad Shepik, pianist Lou Rainone and drummer Gusten Rudolph) sound as skilled and accomplished as any contemporary jazz ensemble out there--as a group they play notably quick and clean and with oodles of energy--but when the Ethiopian influences emerge (often earmarked by guest appearances from percussionist Josh Bailey) the music suddenly becomes much more complex and intriguing.
I had to dig deep into this recording before I realized an old point of reference--Ethiopiques, a collection of Ethiopian jazz from 1965. If you've seen the Jim Jarmusch film Broken Flowers, you know this album intimately. There's an awesome synergy at work between Ethiopian folk music and Western jazz genres, and you'll hear it on In Transit as well. Ethiopiques sounded primitive--it was a primitive recording, and many of the musicians playing could barely maintain control of their instruments. But that was the magic in the recording, that it all set into such a mysterious whole full of beauty. Dingler and his ensemble are precise where the Ethiopians in 1965 were sloppy, but that stunning mix of the familiar and the esoteric is still there, lurking just beneath the surface.
I've one more comparison, and it goes back to the Reggie Young CD. Young is a maestro when it comes to his electric bass, and the entire album centers around that. Dingler is a very solid and thoughtful double bass player, and he likes to stay in the background. His playing isn't flashy, but it will be appreciated by fellow bass players. The strength here is in the compositions, and they way the evoke two very different worlds. It's quite an accomplishment.
Bassist Reggie Young's new album, Young Street, is kind of odd. I don't mean that in a bad way. It's just that as you move through these 11 tracks, you'll start to wonder who Young is, and what kind of sound he's going for.
You can see his intentions--he's an incredible electric bass guitar player, and he's showing off how his unorthodox style can be applied to a number of jazz genres. There's certainly nothing odd about that, since many jazz musicians take that challenge. He starts off with a couple of tunes, "Young Street" and "Smash 'Em Up," that seem perfectly suited to his dynamic and funky aesthetic. From there he moves into "Brazilian Dreams," which of course shows off his taste in Brazilian jazz. He's still hanging in there, despite light and flippant backing vocals that border on stereotypical (ba-ba-ba-BAH!). Then comes a song called "Magic," which is hampered by sleepy, repetitive vocals and a lack of focus.
After that we get "Riding Low," which is more rock and roll than anything else--it definitely has momentum. From there we get Reggie Young's take on all sorts of genres, and for the most part they all sound great. I guess I'm wishing for more consistency in these tunes--I want "Young Street" as an album to feel more of a whole instead of a mere outlet for Young's virtuosity.
Young is far from a rookie--he's won a few Grammies, and he's played with Alicia Keys, Lenny Kravitz, Paul Shaffer, Stevie Wonder and Ruben Studdard. Fodera, a manufacturer of bass guitars, has released a Reggie Young Signature model. The sound of his bass guitar here is strong, distinctive and never trivial. Despite what I said before, he's not a show-off--he knows how to support his fellow musicians. Young Street was written to reflect the sounds Young hears walking through the streets of New York City, and perhaps that's why it's all over the place.
The liner notes state that "when you go hear him play live it's just remarkably entertaining." That's the album this should have been, focusing on this awesome bass player and how he interacts with his band. Instead, it feels like a greatest hits album that features tracks recorded in multiple decades, through multiple artistic periods. It's still quite good, but it is odd.
Saturday, December 9, 2017
Here's another new release, like RK Dawkins' Journey, that seems to draw from so-called New Age music from twenty of thirty years ago to create a new pocket genre for contemporary jazz. The RK Dawkins album used jazz fusion and funk to draw the overall sound away from the ethereal synthesizer music from the '80s and '90s. Guitarist Justin Piper is more evocative of the Windham Hill style of music from the '80s--you can almost hear the late Michael Hedges nodding in approval.
Piper, who hails from the Boston area, uses the same layered approach to recording as Dawkins. Every sound on every track on Transcend is created by Piper--he starts with the guitar track and then adds texture through such instruments as a lap steel, bass, oud and banjo. He then uses programming instead of a mere synthesizer to create the dense backgrounds of sound. While he fancies his music as acid jazz, his classical guitar training is the first thing you'll notice. His acoustic guitars sound dense and fanciful, and his style is intricate and impressive. When I think of acid jazz, I think of something completely different than this.
The sound quality on Transcend merits discussion, and for the same reason as RK Dawkins' album. Twenty or thirty years ago, performers like this would add layer after layer of sound to recording in their efforts to be a true one-man band. In the old days, this meant adding track upon track, which also meant adding tape hiss, noise and other studio artifacts. While early digital recordings were supposed to address this, you could still hear those layers of haze piled on top of each other.
But with Journey and now Transcend, a lone musician can walk into a studio and create a multi-layered recording and still make it sound like it was recorded live and in one take. I'll freely admit that I don't know the particulars of how this is accomplished, or how long these technologies have been available in the recording studio. All I'm saying is that I'm really noticing this clean, pure sound...I almost said "for the first time," but I'm not sure if that's true. What I am saying is this might be the trademark of whatever genre this turns out to be, where one person can walk into a studio and create something that's, well...synergistic with one's self.
Friday, December 8, 2017
Do you like New Age music?
In 2017, the term "New Age Music" is about as nebulous as "New Wave Music." Both terms have becoming meaningless, except in terms of nostalgia, in the last couple of decades. Back in the '90s I went through a New Age phase or, more specifically, I loved ethereal synthesizer music that was called "space music." You know the stuff--it started back in the '70s with Klaus Schulze and Popul Vuh and a few others and then by the '90s everyone started adding beats and the "New Age" split up into dozens of new musical genres--ambient, dubstep, trip hop, you name it.
I'm bringing this up because I've received quite a few new releases that feel, for want of a more specific label, like the New Age music I was listening to twenty-five years ago. The only difference is that instead of wearing hip-hop influences on its sleeve, I'm hearing more jazz and funk. The synthesizers are still out in front, as are the drum machines, but this new genre seems focus on themes and improvisations in the same way as classic jazz. On the surface, it feels like New Age. But there's a different level underneath it all, something based more on old traditions. RK Dawkins' Journey is the first of many CDs I've recently received that seem to be fixated on creating a new hybrid subgenre. There's probably already a name for it.
Dawkins has even adopted the New Age approach of people such as Robert Rich and others by playing all of the instruments on Journey. He's primarily a jazz guitarist who counts Herbie Hancock, Grover Washington Jr. and Earth, Wind and Fire as his primary influences. He started off each compositions by focusing on a strong bass line and guitar lines saturated with effects, and then builds up layer after layer. That way he can focus on the "flavor" each instrument brings to the song. That's why each composition will remind you of so many different types of music at the same time--jazz, funk, Middle Eastern music, pop, techno, whatever you can think of.
While the one-man band approach to composition can occasionally lack both variety and a sense of synergy, Dawkins takes a different approach by thinking of each layer of music as a "contribution" from a musician with unique experiences and influences. As you listen to Journey, it sounds like it was performed by a group of musicians who love playing together. This wasn't always the case back in the New Age Era. Perhaps it's because today's studio technologies can provide a more seamless feel between the layers, but a lot of it has to do with Dawkin's ability to make this sound like a great jazz-funk-techno band all by himself. While Journeys doesn't quite sound revolutionary or even evolutionary from a perfunctory glance at its gleaming surfaces, it might just signal the arrival something very new.
If you read last week's review of Dave Stryker's Strykin' Ahead in Positive Feedback, which you can read here, I make the subtle suggestion that Stryker is everywhere in the world of contemporary jazz, perhaps one of its biggest stars in 2017. So I wasn't the least surprised to see him as a featured guest on saxophonist Steve Slagle's new album Tribute. For the record, this is not Slagle's tribute to the semi-ubiquitous Stryker--each of these nine tracks is dedicated to a particular performer who inspired the recording such as Sonny Rollins, Steve Swallow, Jackie McLean, Wayne Shorter and so on.
Slagle even dedicates some of these songs to ideas--"Major In Come" is dedicated to the concept of "swing" in jazz and "Triste Beleza" is dedicated to the "great spirit of the music of Brazil." Dave Stryker, as uniquely talented as he is, even takes a step back from the edge of the stage to allow Slagle to pay each of these tributes--it is the saxophone that carries the heart and soul of this album forward.
Slagle isn't a stranger to me either. I reviewed his last album, Alto Manhattan, earlier this year. I focused on the fact that AM was wild around edges and full of measured chaos, which I loved. "[It] impressed me with its breathlessness, its furor," I wrote. This observation was relative, of course--I was reacting to the fact that my review pile at the time was rich with journeymen performers who were competent and capable and dedicated but perhaps lacked a bit of spark. On Dedication, Slagle is still using the same core of musicians (drummer Bill Stewart, bassist Scott Colley and pianist Lawrence Fields), and has added Cuban percussionist Roman Diaz. So is this a continuation of the same wild spirit of Alto Manhattan?
I'm going to say it's somewhere in between. Dedication is certainly as inspired as anything else Slagle has done. It's just a little more clear-headed than usual. Each performer has perhaps a bit more focus and restraint than the last time out, and while this new attitude makes Dedication more calm and reflective, it doesn't rob the music of its primal energy and brilliance. Imagine Alto Manhattan as a performance you want to hear at the beginning of the evening to get you all pumped up, and Dedication as the late night session that eases you into a night of vivid dreaming. Even with Stryker, one of jazz's most exciting guitarists, Slagle's ensemble is magical yet precise. Highly recommended.
I have enormous respect for the trombone. Why? I'm not much of a musician, but I have tried to learn quite a few instruments over the years--drums, guitar, piano, saxophone, clarinet, ukelele and a few others. The trombone was the one instrument that would not allow me to create a single solitary note, not even by accident. So when I hear the sound of the trombone in a particular recording I think oh, there you are you obstinate bastard. Are you mocking me again?
It's all said in jest, of course, but this is the reason why I get a thrill from listening to great trombonist ply their craft. I know how difficult it is to play this seemingly simple brass instrument (by simple, I mean no valves), so I marvel when it's done beautifully. Bob Ferrel is one of those rare humans who have mastered the trombone and have made it sound beautiful, complex and full of emotion. Ferrel has been performing for over forty years with such luminaries as Ella Fitzgerald, Sarah Vaughn and the Duke Ellington Orchestra. He's also played with Bruce Springsteen, Bon Jovi and Stevie Ray Vaughn. You want a great trombonist? Here's a legend.
On his new album, Jazztopian Dream, Ferrel provides sort of an advanced primer on the trombone. This mixture of classics and originals shows just how varied this brass instrument can be--Ferrel engages in such techniques as triple-tonguing, multi-phonics and lots of "growl." He can soften the tones, he can blur them and he can even coax them into an astonishing level of purity and clarity. His large band is just as flexible--they can sound like a traditional big band, an Afro-Cuban ensemble or they can even pull the focus and sound like a tight be-bop quartet or quintet. Dwight West sings on a handful of tracks as well, sounding like Joe Henderson with a big clear delivery that seems to emphasize every syllable.
The album ends with a hoot--"Soul Bop" stretches the timbres of Ferrel's trombone into an almost guttural language. It's hard to decide if Ferrel is exploring new frontiers or if he's just having way too much fun. I lean toward the latter--just listen to everyone laugh at the end. (Someone says, "That's some fun stuff.") But you're missing something if you don't sit and listen carefully since Ferrel and his band have locked into a rare groove. I could listen to an entire album of this sort of hijinks. The rest is pretty special too--especially if you're a fan of the trombone.
Tuesday, December 5, 2017
I was fairly surprised to see a new album from soprano sax player Jane Ira Bloom so soon after her monumental Early Americans, which I enthusiastically recommended in my Positive Feedback review last year. Wild Lines: Improvising Emily Dickinson arrived in my mailbox a few weeks ago, and I immediately thought "Wow, Jane is very prolific--this new one is even a 2-CD set." I started listening to it almost immediately. How could you go wrong with Jane's music mated with Emily Dickinson's poetry, read by actress Deborah Rush? What an ambitious project, I thought.
Then I started hearing it, familiar songs and passages from Early Americans, and that's when I started wondering about this project and what it was trying to accomplish. After careful listening I deduced that those familiar tracks from Early Americans were performed by a quartet this time, with pianist Dawn Clement joining bassist Mark Helias and drummer Previte. The arrangements are therefore slightly different, a little more complex this time out. Clement's piano work is rich and adds a fullness to the overall sound.
As I explored Wild Lines, I started realizing that this project was so much more than setting Emily Dickinson's poetry to jazz featured in an already extraordinary album. Then I discovered the true scope of the project. First, I started off thinking that this was only a single CD album--the other one had been hiding deep in the CD gatefold--and I had actually been listening to the second disc, which is the only one where Rush appears. The first disc is the music itself, without the poetry reading. So I went back and listened to the entire work in order, disc one first, and had to re-evaluate everything I had already heard.
Wild Lines is an expansion of Jane's themes that she explored in EA and elsewhere, matched to Dickinson's words. Jane explains in the liner notes that "I didn't always understand her but I always felt Emily's use of words mirrored the way a jazz musician uses notes." Taking lines from both Dickinson's collected works and the envelope poems "The Gorgeous Nothings," Jane has allowed her compositions to evolve into something deeper and more complete. If you're a fan of Emily Dickinson, it might be a revelation to hear her words take on those jazz rhythms and dance between your speakers. If you're a fan of Jane Ira Bloom, you get the privilege of hearing her dig deeper into a masterpiece and place it into a new context.
The relationship between the two discs--one instrumental and then one with Dickinson's words--is a bit more complex and may take more time for me to fully digest. Bloom could have taken the easier path and just released the second CD as the complete work, but by allowing you to hear the music both ways she's tempting you to apply the poetry in your mind, to hear it implicitly. Whether you're able to do that successful may depend upon how familiar you are with Emily Dickinson. I've read her poetry but I'm far from a scholar. But if you do love her poetry as Jane Ira Bloom does, this might be the most fascinating album you've heard in a very long time.
Sunday, December 3, 2017
My review of Dave Stryker's Strykin' Ahead on CD and LP is now live at Positive Feedback! You can read it here.
Saturday, December 2, 2017
When you see a title like Jazz Horn Redux, you generally think of lots of blasting brass instruments all up in your face. Or perhaps you think of big horn sections backing up a big, bluesy Chicago or Detroit ensemble. I don't know what you think of, actually, but I do know that I approach these types of jazz albums with a fair amount of trepidation. I guess it goes back to that time I went to the Elephant Bar in Austin and sat up front, and the bell of the trumpet was no more than six feet from my face the whole time. I felt like my eyes were crossed for two weeks after that. I like a little more distance, thanks.
That's why Ken Wiley's new album is so surprising. He's a french horn player, which obviously sounds a lot more mellow than a trumpet or a flugelhorn or a sax or a trombone. Wiley is celebrating the contribution of horns in the jazz songbook, so we get smooth and textured renderings of such classics as Freddie Hubbard's "Little Sunflower," Charlie Parker's "Scrapple from the Apple," John Coltrane's "Equinox" and Sonny Rollins' "Oleo." You even get two faithful covers from Kind of Blue--"All Blues" and "Freddie Freeloader."
Surprisingly, this isn't Wiley's take on these classics, all performed on French horn. He's assembled a huge collection of L.A. jazz musicians to deliver these fairly straightforward yet beautifully captured performances. As band leader--and this is Wiley's fourth time doing this--he doesn't like to stray too far away from the original arrangements or come up with some crazy new way to do things. He's reverential in his approach, and a little bit of a perfectionist, and that means Jazz Horn Redux will sound like many legendary big band performances you might find from fifty or sixty years ago.
What Jazz Horn Redux also shares with those old recordings is beautiful sound quality. We're not talking about the simple late night impromptus that turned out to be magical, but a well-balanced and clean presentation that will reveal layer after layer of talent as well as a palpable whole that reveals how much these wonderful musicians know each other, and how much they enjoy playing on these types of ambitious projects.
Friday, December 1, 2017
Jason Gross, publisher of Perfect Sound Forever, is putting together a benefit concert for Planned Parenthood at The Bell House in Brooklyn this Wednesday, December 6. The evening will feature performances from Cindy Wilson of The B52's, Kaki King, Amy Rigby and more! Advance tickets are just $20 (they're $25 the day of the show), and you can also get special VIP tickets for $40--you'll get to meet Cindy!
For more information, check out The Bell House's website here.
When I first started listening to jazz seriously, probably right after I left college and went to live in Virginia, my entry point was the vibraphone. More specifically, I really responded to Milt Jackson's vibes, and I set out on my jazz journey by purchasing several albums from the Modern Jazz Quartet. There's something about the vibraphone and the way the notes float and shimmer in space that really sends chills down my spine.
I also love the marimba, almost in the same way I love the vibes. My interest in the marimba predates my interest in jazz--I once fell in love with a very funky marimba that I found for sale in La Luz de Jesus, an art gallery/curio shop on Melrose in Hollywood. It was $700. I never quite saved enough to buy it, but I'll remember its glorious sound for the rest of my life.
Perhaps that's why I immediately responded so favorably to Steve Hobbs' Tribute to Bobby. Hobbs has been a true legend when it comes to jazz marimba and vibraphone--he has been recording for Challenge Records for 43 years. The "Bobby" in question is Bobby Hutcherson, who was Hobbs' mentor and dear friend who recently passed away. This tribute includes many Hobbs originals with just a couple of exceptions--Dylan's Blowin' in the Wind and "Where or When" from Rodgers & Hart.
Hobbs enlists the help of the musicians who have played with him on his last three albums--sax player Adam Kolker, pianist Bill O'Connell, bassist Peter Washington and drummer John Riley. This quintet can move gracefully through all sorts of jazz genres such as calypso, Latin, funk and even a bit of gospel (on "The Road to Happy Destiny," which does sound like it belongs on a different album), but this recording's strongest asset is Hobbs, who can really dig out the sound of mallets hitting blocks and bars. For me this is the true thrill of so-called struck idiophones, the way the sound of the mallets against the bars can sound so immediate and present and normal--and by normal I mean familiar, as in a familiar sound that doesn't sound ethereal or impossible. Anyone can make that sound at least once, and so it registers as something comfortable in the back of the brain.
Of course the secret is stringing those notes together in a way that is not only musical but unique, especially in terms of the entire performance. Hobbs is quick and light, in the manner of most of his colleagues, but he is also very caring in terms of extracting the right tone from his instrument. In a way he is the David Gilmour of struck idiophones, where every note is carefully chosen and winds up being the perfect fit for the song.
The sound quality is indeed excellent, which is important when it comes to hearing the striking of the mallet, the note produced by the instrument and then how that note moves and fills the room. Perhaps that's why I'm so in love with the sound of these instruments--you can crawl inside of these sounds and explore. There's so much to feel here.