TRANSLUCENT
SPACE
Jason Rigby, saxophones, bass clarinet, and wood flute
Fresh Sound New Talent (FSNT 254)
Jason
Rigby is an active musician on the New York music scene today, performing
in a variety of musical groups such as the Village Vanguard Jazz Orchestra,
Aretha Franklin, subbing on Broadway, as well as a sideman with numerous
artists, such as David Liebman. Prior to coming to New York City, Rigby
worked in Ohio, and in particular Cleveland, with various artists. He
received his Bachelor's degree from Youngstown State University and his
Master's at the Manhattan School of Music. He currently performs regularly
in New York, and abroad, with guitarist Scott Dubois, and bassist Cameron
Brown.
The musicians on this CD include Jason Rigby (tenor,
soprano, alto, bass clarinet, and wood flute); Mike Holober, piano and
Fender Rhodes piano; Cameron Brown, bass; Mark Ferber, drums; Soo Kyung
Park, flute; Sam Sadigursky, clarinet; Jason Gillenwater, clarinet; Lauren
Riley, cello.
Rigby's solo CD debut features his fine work on woodwinds,
as well as his craft and skill as a composer. Although, he indicates that
most of the tunes were only sketches, there is somewhat of a gray area
where and when the melody ends and the improvisation begins in each tune.
The opening cut, Proximo, is a good example of this concept,
as the composition and improvisation seem to evolve rather than being
distinctly delineated in the form. A vamp like background in seven, along
with a tastefully performed group interplay, and some nicely used dissonance
with the woodwinds in the background, allow the CD to peak the listener's
interest of what's to come.
Turquoise Turkish begins with a frantic line
that melts into solos by Rigby and Holober. Rigby tabs the style of this
tune as free bop because of the free nature of the solos, but while there
is a strong, free component, the solos still remain attached, albeit minimally,
to the crux and foundation of the tune with regard to tempo, rhythm, and
to a certain extent, harmony. Regardless, the interaction between ensemble
members is excellent and the listener remains attentive as the soloists
and supporting musicians offer a unified, collective approach in the composition's
performance.
The use of the Fender Rhodes, as well as a harmonic
foundation somewhat more accessible than the previous compositions, gives
Southampton (UK) a different flavor for the listener's palette.
Rigby also mixes it up a bit on this tune by using a rhythmic ostinato
as the basis of the composition, and he plays soprano saxophone as well
as the bass clarinet. The relentless drive by the rhythm section and energy
of the solos provide ample momentum fr the tune's success and forward
motion.