Dave Douglas Music

All the tracks on Douglas' CD play greatly on their own. Taken as a whole album, however, a slight note of monotony might creep in after track 7 or 8 -- many of the tracks share a similar mood and pace, and one might find oneself wishing for a bit of variety after an extended listening. However, that doesn't change the excellence of the performances and composition.

If you think acordeon is not your kind of instrument in jazz listen to this CD and I'm sure you will change your mind. My wife hates it, but if you spare a bit time to listen to this a couple of times you will know what I mean. Track nr.2 Bal Masqué and track nr. 4 is excellent music for Kusturica's next film...

This album is one of the finest fruits of a move in the 1990s among avantgardists like John Zorn towards an eclectic but accessible chamber-jazz. (Other instances would be Zorn's Bar Kokhba & Bill Frisell's _Quartet_ album.) Douglas has rightly moved from obscurity to the first rank of jazz musicians in the 1990s, gaining widespread exposure from Zorn's Masada, & waxing a seeming flood of discs with a variety of bands--an acoustic, string-based quintet; the trumpet/guitar/drums ensemble the Tiny Bell Trio; the larger, more conventional jazz ensemble that recorded tributes to Booker Little, Mary Lou Williams & Wayne Shorter; & many other projects. _Charms of the Night Sky_ announced a new project, which is centred on the duo of Douglas & the remarkable accordionist Guy Klucevsek, who is one of the few North American players who can stand with Europeans like Richard Gilliano or the bandoneon master Dino Saluzzi. Half of this CD is duets of these two players; on other tracks they are joined by the ubiquitous, omnicompetent violinist Mark Feldman (whose c.v. includes everything from country fiddling to work with orchestras) & Greg Cohen (who splits his time between old-fashioned jazz with players like Marty Grosz & Woody Allen, & playing with Masada).

This is a strikingly lovely disc, & even skeptics about accordion are urged to give it a try. Douglas is as always very careful & specific about the inspirations for his music: this disc has a dedication to Charlie Haden, "Dance in Thy Soul" (which is, unexpectedly, a violin feature--after a free-tempo introduction, this settles into perhaps the most exciting & insistently rhythmic piece on the disc, which ends with a simultaneous trumpet/violin improvisation which dissolves into delicate high-pitched tones). There are two covers, Francesco Cilea's "Poveri Fiori" & Herbie Hancock's "Little One"--not simply a great cover (which it is) but an indication of a key source for the kind of subtle & impressionistic jazz on this disc.

This is an album at once innovative & immediately listenable. Highly recommended. I should add that those who enjoy it should check out Tomasz Stanko's _From the Green Hill_, a disc which employs a similar lineup (trumpet, violin, bandoneon & bass, though it's augmented by drums & saxophone); the Polish trumpeter Stanko can often sound like a wilder, more unfettered Dave Douglas.

This is maybe my favorite Dave Douglas recording (could change next week since they are all so good). As the title seems to suggest, I tend to play this one at night after my toddler has gone to bed. It is both stimulating and relaxing. Most of the songs have a slow to medium tempo and are performed in a somewhat relaxed manner. The instrumental combination and their arrangements are wonderful. Somehow, this music allows me to re-engage my mind while calming my body.

As much as I love this, my wife hates it. If accordian and trumpet isn't your thing, perhaps you better stay away. But if your seeking a subtle yet rich tonal experience, this it it!

I originally chose this CD as my intro to Dave Douglas' solo work because the Winter & Winter packaging is so cool. . . . I overlooked the fact that he would be playing with just bass, violin, and accordion (yes, accordion) and went with CHARMS OF THE NIGHT SKY. Man, what a good call! This CD is all that it possibly could be, and Douglas makes it even more. Great arranging turns some very intriguing melodies into very intriguing and beautiful songs. As I have since discovered, this is pretty mellow stuff for Douglas, but he brings a passion and energy to this seemingly laid-back disc that few, if any, others could do. Tracks 2 & 3, "Bal Masque" and "Sea Change," would probably be my two favorites (I love him jumping the octave in "Sea Change"), but I don't skip over anything. I have seen Douglas play in concert with John Zorn's Masada, and he is just physically and sonically impressive in that setting. What is really cool is that he is equally impressive in a bit more subdued setting such as this. Cohen, Feldman, and Klucevsek should not be overlooked, either, as their support is integral throughout the CD. A beautifully constructed collection, this is worthy to be on the shelf of really special discs that one goes to for a breath of fresh air, a moment just to clear one's head, and/or a deep breath at the end of a busy day. Douglas will reward you, and you'll come away quiet, refreshed, and invigorated. At least I do. . . .

"Constellations" opens with the title track, a fairly straightforward catchy song. A lot of Dave Douglas discs start with a catchy one, and this is no exception. "Unhooking The Safety Net" has an Eastern European feel to the melody, and is free-jazzy. "Hope Ring True" is fairly free, though there's a theme running through it. You can hear very quickly that the band is very tight - this CD was recorded mid-tour. "Taking Sides" is a highlight with some great improv. "The Gig" is a Herbie Nichols song that's been delightfully dismantled and reassembled on the fly. I've seen a few jazz writers say this is one of the best CD's of the 90's. Unfortunately for me, I don't like the next three songs as much, taking this out of the running. "Vanitatus Vanitatum" closes the CD out in humorous fashion.

If you like Dave Douglas, the Tiny Bell Trio, or modern jazz, I recommend this. I'm not sure it's one of the best of the '90's, but it's good.

Trumpeter Dave Douglas has become one of the leading voices of contemporary jazz. This album from 1995 is probably my favourite of his works. It is with his "Tiny Bell Trio" (with Brad Shoeppach [now Shepik] on guitar and Jim Black on drums). The writing on the album is inspired by Eastern European song forms, and the tunes are wonderful. I specially like "Scriabin," but there are many great cuts on this CD. Anyone interested in the current state of jazz should have this album.

"Constellations" opens with the title track, a fairly straightforward catchy song. A lot of Dave Douglas discs start with a catchy one, and this is no exception. "Unhooking The Safety Net" has an Eastern European feel to the melody, and is free-jazzy. "Hope Ring True" is fairly free, though there's a theme running through it. You can hear very quickly that the band is very tight - this CD was recorded mid-tour. "Taking Sides" is a highlight with some great improv. "The Gig" is a Herbie Nichols song that's been delightfully dismantled and reassembled on the fly. I've seen a few jazz writers say this is one of the best CD's of the 90's. Unfortunately for me, I don't like the next three songs as much, taking this out of the running. "Vanitatus Vanitatum" closes the CD out in humorous fashion.

If you like Dave Douglas, the Tiny Bell Trio, or modern jazz, I recommend this. I'm not sure it's one of the best of the '90's, but it's good.

Trumpeter Dave Douglas has become one of the leading voices of contemporary jazz. This album from 1995 is probably my favourite of his works. It is with his "Tiny Bell Trio" (with Brad Shoeppach [now Shepik] on guitar and Jim Black on drums). The writing on the album is inspired by Eastern European song forms, and the tunes are wonderful. I specially like "Scriabin," but there are many great cuts on this CD. Anyone interested in the current state of jazz should have this album.

This is the Dave Douglas 'Five' in top form...a step up (which I didn't think was possible) from the first album, 'Five.' The compositions on this album are of a greater depth and the playing by each individual in the group is so 'honed-in' it leaves me floored. 'Farewell Tony' is definitely the expressive climax on the whole disc..Dave's solo is ridiculously superb...inspired....a more than fitting tribute to Tony Williams. One of the best albums I have heard in a long, long time!

It begins with a rendition of a Burmese folk song, moves to a lengthy, somewhat dissonant piece called Meeting at Infinity, moves to a beautiful Kurt Weill piece and a Messiaen piece . . . well, you probably get the picture. At some level it explores and smashes the boundaries of Classical Music and Jazz. Its pleasure is not the visceral beat-bound pleasure that you get from listening to a lot of music, where the energy is in the beat and the exhilaration . . . rather, the pleasure, and it is almost exhilarating, is the sheer intellectual depth of this music and how demanding of a listen this is. It literally took me three days to get through this record the first time, partly because my wife complained about how much she hated it, but also because it is exhausting to listen to.

What is really remarkable about this, and it is something that I have never heard before, is Douglas' trumpet playing set against a string trio. Very unusual and not like jazz as you might expect it.

I would say to anyone who is interested in music that this is a great record to buy. You may not ever love it, but I think you will keep coming back to it again and again and finding new discoveries. I plan on buying a few more Douglas records, if only to annoy my family.! :)

The prolific Douglas scores again with this, his third recording with his string group. Douglas is a master of utilizing unusual combinations of instruments. The string group is comprised of Trumpet, Violin, Cello, Bass and Drums. (His Tiny Bell Trio consist of Trumpet, Guitar and Drums) While the group does tackle a classical piece, a Messian composition originally for organ, there is no mistaking this for anything but jazz. Though I prefer "Five" this is still amust have cd.

Well -I would be the first to admit that I don't know an awful lot about Dave Douglas. But I have this CD, and it's pretty wild. Think Kronos Quartet with a bit of Tim Berne thrown in. There are moments of melody here, but with this line up you never quite know where the music is going to go. The liner notes make special mention that Douglas wants everyone to kow that this is an album make by five musicians. So let me mention them here - it's a good idea, because you can get an idea of what to expect: Mark Feldman (violin), Erik Friedlander (cello), Drew Gress (bass), and Michael Sarin (Drums.) And of course, Mr. Douglas with his trumpet.

This thing stretches out (72:07 in length) and flies in all directions. In some tracks we're looking at dissonant ranting (opening track being an example) while at other times they take their time to impress a melody, and not to fill every single space with a note.

I'm not going to say BUY THIS, BUY THIS here. It wouldn't be appropriate for this kind of disc. The fact is, when you're ready to spend time with something new - something different - something that will challenge you nine ways to Sunday - then go pick this one up. I can't imagine 50 years of listening to this would get you to the bottom of it.

I have a few DD albums (Freak in, Witness -another good one, etc) but this is by far the best effort I've heard from him. Greg Lake is amazing - but everyone really holds there own and the compositionas are solid with room to improvise...

"Keystone" is Dave Douglas' tribute to silent movie actor/director Russell "Fatty" Arbuckle-- this package contains a CD of music and a DVD with a short Fatty Arbuckle movie ("Fatty and Mabel Adrift") and a music video (note that this seems to have some sort of distribution delay, I was able to secure a copy at davedouglas.com).

Tackling the CD first-- the music on "Keystone" is groove-based fusion, the closest analogy that could be made to it is to say it is a modern take on the early Miles Davis/Wayne Shorter fusion sound. Douglas' band follows the arrangement of Miles' 1970 quintet-- himself on trumpet, Marcus Strickland on saxophones, Jamie Saft on wurlitzer piano, Brad Jones on bass and Greg Lake on drums-- augmented by the turntables of DJ Olive. The seventh unsung musician on this project is producer David Torn, who lends his own atmosphere and presence to this project without actually performing. Those familiar with Torn's work will recognize his stamp on the record.

The music excels when the band hits a strong groove-- Jones and Lake lock into great funk/fusion sounds, augmented by Olive (and I'm guessing Torn), while Saft performs in advanced opposition to them, producing a rather stunning array of sounds from his keyboard, often in counter to the horns. Speaking of, Douglas and Strickland at times set up a Masadaish vibe, harmonizing and playing off of each other in a style reminiscent of the Zorn/Douglas frontline. Highlights include the deep groove and breakneck beat of "Just Another Murder", which works into a superb ground for Douglas and particularly Strickland to work, the chugging, hip-hoppish interlude "Fatty's Day Off" (with the horns laying out), and the inventive and unpredictable "Famous Players", which features brilliant soloing from both Saft and Lake. But in reality the album is of such consistently high quality and performance that I could probably identify another dozen moments that stand out, truth to be told, this is really one of the best pieces in Douglas' catalog, if not the best.

The DVD, which I sort of look at as a bonus, is entertaining-- "Fatty and Mabel Adrift" is presented in its entirity (about 35 minutes) with score provided by music from the "Keystone" project. In part, the music gains strength when paired with the image-- the somewhat cinematic and storytelling atmosphere to the music, which isn't readily apparent on first listen, comes out quite a bit more cleanly when associated with the video. Like any great soundtrack music, it's revelatory in its own way when separated, and approaching this first as music and then as soundtrack really changes your perspective. Arbuckle's film is bizarre in modern context-- silent movies by and large had to rely on overacting and expressionism to get their point across, and for a man of his build, Arbuckle was remarkably agile. His expressiveness as an actor (and for that matter that of the remaining cast) makes the piece amusing, but Douglas sums it up best in the liner notes when he states that you can watch an Arbuckle piece, be entertained, and after it's over, wonder what happened.

The music video (for standout "Just Another Murder") matches scenes from various Fatty Arbuckle pieces with the music and is entertaining though more a diversion than anything else.

The CD and DVD are housed in a digipack with a brief essay from Douglas concerning the project, Fatty Arbuckle, and the music. Perhaps the most clever is the photo of Douglas (holding a dog whose mouth is up to a bugle) in brown-tinted monochrome, looking like a still from a silent movie. All in all, a superb package, highly recommended.

Douglas creates a great jazz cd using "classical" instruments such as violin, cello and double bass along with his trumpet and Michael Sarin's percussion. A stunning cd that sounds like no other group.