TIM WILLCOX 'Superjazzers, Vol. 2'
Tim Willcox (tenor saxophone)
David Goldblatt (piano)
Bill Athens (acoustic bass)
Charlie Doggett (drums and percussion)
Tim Willcox's second album for Ninjazz Records, featuring original modern jazz music with an ear towards classical, free, world and popular music.
Recorded by Sascha Mueller at Supernatural Sound (Oregon City, Oregon). Mixed by Eric Eagle at Skoor Sound (Seattle, Washington). Mastered by David Goldblatt at Goldnotes Music (Portland, Oregon). Artwork by Randy Emberlin.
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Published by Maxwell Chandler, Our Man On The Coast, January 17, 2019
The aptly titled Superjazzers Vol 2 is the second album by musician/composer Tim Willcox for the label NINJAZZ RECORDS. It is a quartet ensemble, with Tim’s tenor saxophone leading the way. The CD consists of all original material written by the band members.
The CD comes in a digipak holder with original artwork and album credits. As it could be said to be my raison d’être, I always lament the lack of liner notes. Even I must admit though, it is a dying art. Even more so now with so many people buying their music via digital download.
“Valeria” is a ballad that is sweet but not overly saccharine. The sonics here, and for the entire album possess a full warm sound, which is not always the de-rigueur with more recent recordings. There is very much a sense of the band playing together and not at different hours from within Hirst-like glass cubes. Tim favors a rich mid-register tone that allows for conveyance of emotions.
The band utilizes some interesting choices. Here, it is ending the piece with a drum outro executed at a laconic pace but with a density of storm-rain.
“Teraj” was written by pianist David Goldblatt. The start of the song with its polyrhythmic percussion is infectious. It reminds one of Dave Brubeck’s “Un-square Dance”, not in time/meter, but rather in its ability to make one want to “play” along on whatever is available to tap.
There is a percussive aspect to the piano initially too, but emotion is not sacrificed to speed of execution. Tonally the piano is The Bard’s Puck; sprite like in its playfulness. The slowed down long lines of the horn, a blue friend in need of cheer via its mischief and perhaps a few drinks.
The ensemble incorporates their influences into both their playing and writing. What makes it work is that there is never a feeling of mere parroting nor reproducing moments initially created by others.
“The Pat” written by Tim starts off with nearly a minute and a half of solo playing. From his tone and manner of playing the listener remains engaged. There is never the feel of bearing witness to someone practicing scales or showing off.
The rest of the band seamlessly joins in, it becomes a continued conversation held in delicate, hushed tones.
“Simplicate” by Charlie Doggett combines an air of contemplation with that of mystery. The start of the piece has the piano playing over bowed bass and world music sounding percussion. The rapid staccato of the piano has it at times sounding almost like a hammered dulcimer. The textures generated once the saxophone come in are that of an enveloping fog or descending night.
Everything which is appealing about this ensemble is offered up within the body of this song.
The band has multiple aspects to it which are presented in the different styles of each of the songs. The variety does not prevent the album from having a cohesive feel. It projects the different sonic interests of the band organically, rather than just trying to hook in fans of various styles ala some type of musical buffet.
The album is a great introduction to a forward-thinking hard bop group that does not rigidly adhere to genre.
“Tim Willcox's saxophone sings and, at times, broods passionately and inventively...”
— Doron Orenstein