Something I have always liked about jazz is its ubiquitous ability to transform something simple into something complex. This paradigm is especially evident in trio recordings. Pared down, acoustic and raw, there is a razor-edge vitality and life that the music can take on when truly inspired. When listening to this recording, I found that feeling permeated the pieces. With no "chordal" instrument to rely on, each member of the trio is essentially responsible for their own rhythmic and harmonic interest which is a precariously difficult task. Add this Molotov cocktail to a live recording situation, and the result is a truly exposed and vital recording.
Behind this recording, Bryon Ruth's tenor sound is rich and vibrant, with a subtle warmth that only comes from years of intense practice. In the liner notes, he tips his hat to Joseph Wytko, one of the nation's classical saxophone treasures. This is not surprising considering the overwhelming (almost classical!) presence in Ruth's sound. He is joined by two amazing players in their own rights; John Neish on drums and Ted Sistrunk on bass. Together they weave some interesting musical tapestries.
Ruth's inspirations seem to lie in a root structure of bebop-tinged jazz entertwined with subtle extended technique. Sometimes I hear bits of Coltrane, especially in introspective moments; not in sound exactly, but in feel. The group does pay just homage to Trane with their lush representation of "Naima," which was a high point of the recording for me.
Something that endeared me to this disc was the overwhelming sense of exploration, especially on the part of Ruth. On the second cut, a burning up-tempo chart, he reaches into areas of the saxophone that can be wildly unpredictable. You get the impression that he is going where his heart takes him, not where bebop rule 12a says he should go. I don't think even he knew where he would go next, as long as it was building and growing. He turns out some really nice solo work especially on the fourth tune where the group really stretches out. All members are clearly not afraid to take musical risks. This makes the recording unpredictable and thoroughly enjoyable!
When it came to the rhythm section, I was truly impressed by the sensitivity and tastefullness of Sistrunk and Neish. The drums always melded perfectly with what was happening around them. Neish was not there just to keep time; he was there as an equal member, providing texture, movement, and even melody. Sistrunk operates in the same way, with an ear for melody and more than a standard bass sound. His solo on the song "My Dog Earll" really struck me, despite its adventitious title.
This is another entry in my highly recommended list. If you are interested in some fine jazz with a double lime twist, this recording is for you! And, if you are lucky enough to live in Arizona, keep your eyes open for these guys. This recording can only be second best to hearing them twist and turn in person.