The Absolute Sound
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<p>
Roswell Rudd’s recording debut in 1955 was with a Dixieland band, and he made his name adapting the old “tailgate” trombone approach to free jazz in the ensuing decade, while working with such icons as Archie Shepp, Cecil Taylor, Albert Ayler, and John Tchicai. But Rudd’s musical interests are even more wide-ranging, and this has led to a series of surprising collaborations over the years, from the Cajun Band, BeauSoleil, to musicians from Tuva, Mali, and Puerto Rico. Rudd continues to expand on his resume as a global musical maverick with <em>Trombone Tribe</em>, which features not only several lineups drawn from New York’s jazz elite, but also six tracks with a wild West African group called the Gangbe Brass Band. Yet the whole is cohesive, in part because, for the first time in his career, Rudd has focused mostly on arrangements that heavily feature the trombone, but also because most of the writing is his. One is impressed by many things, from the amazing variety of sounds achieved by the six trombonists on “Hulla Gulla,” to the transcendent mischief that ensues when Roswell sits in with Steven Bernstein’s Sex Mob. It’s obvious that everybody involved had a blast, and it would be a troubled listener indeed who didn’t find the feeling contagious.*</p>
[Source: http://www.theabsolutesound.com/articles/roswell-rudd-trombone-tribe/]
Roswell Rudd’s recording debut in 1955 was with a Dixieland band, and he made his name adapting the old “tailgate” trombone approach to free jazz in the ensuing decade, while working with such icons as Archie Shepp, Cecil Taylor, Albert Ayler, and John Tchicai. But Rudd’s musical interests are even more wide-ranging, and this has led to a series of surprising collaborations over the years, from the Cajun Band, BeauSoleil, to musicians from Tuva, Mali, and Puerto Rico. Rudd continues to expand on his resume as a global musical maverick with <em>Trombone Tribe</em>, which features not only several lineups drawn from New York’s jazz elite, but also six tracks with a wild West African group called the Gangbe Brass Band. Yet the whole is cohesive, in part because, for the first time in his career, Rudd has focused mostly on arrangements that heavily feature the trombone, but also because most of the writing is his. One is impressed by many things, from the amazing variety of sounds achieved by the six trombonists on “Hulla Gulla,” to the transcendent mischief that ensues when Roswell sits in with Steven Bernstein’s Sex Mob. It’s obvious that everybody involved had a blast, and it would be a troubled listener indeed who didn’t find the feeling contagious.*</p>
[Source: http://www.theabsolutesound.com/articles/roswell-rudd-trombone-tribe/]