"
Newspaper Archive of
The Texas Sun
Buda, TX
Lyft
December 11, 1975     The Texas Sun
PAGE 18     (18 of 32 available)        PREVIOUS     NEXT      Full Size Image
 
PAGE 18     (18 of 32 available)        PREVIOUS     NEXT      Full Size Image
December 11, 1975
 

Newspaper Archive of The Texas Sun produced by SmallTownPapers, Inc.
Website © 2022. All content copyrighted. Copyright Information.     Terms Of Use.     Request Content Removal.




18 THAD JONES & MEL LEWIS Suite For Pops __-= The greatest big band in the world in a musical tribute to Louis Armstrong. SONNY FORTUNE Awakening One of the important reed side- men makes his debut as a great leader. LP's Now Only 1 lTapes NowOnly] SOnny Fortune DAVID LIEBMAN Sweet Hands DAVE BRUBECK & PAUL DESMOND 1975: The Duets )ESMOND] A rising star of instrumental music. His reeds accompanied by his group, Lookout Farm. Their first duet album in over 20 years of performing together. JIM HALL Live l "LIVE" for the first time: the best of his recent performances. JIM A J~A&~MERIES 4?2 -0235 By Fred "Cumulo Nimbus, T mes Its Weight: Paul Ostermayer, soprunoana tenor saxes, bass clarinet; Joh Treanor, drums and percussion; Skiles, piano; Spencer Starnes, basS( Mel Winters, trumpet, synthesizerand electric piano. Plus Quincy JarmO congas. Weedhopper, March of Goober Woobers, Tears, Jig, Halyards, Cumulo-Nimbus. For people unfamiliar with 47X and Austin jazz generally, "Cumul0 Nimbus" should have its appeal. It certainly stands on its own merits. I like this record, all the way through and for many reasons. For us who've agonized through the growing pains and overlong adoleS" cence of the local jazz scene, this record -- and this group -- means a lot more than 30 minutes of pleasant music. It represents the culmination of ten years of development of Austin jazz, the first recorded statement worthy of the faith we ve had all along. Most importantly for me, it s a chance to hear and now let other people hear the music of some guys I've admired for years. I knew Mel Winters in 1965 when he was a convincing ballad player who admired Al Hirt. We hung around the Texas Union's baby grand with Pete Williams and Shawn Seigel (of Shiva'S Head Band) and told each other we weren't nothin'. Of course, we knew Mel would someday amount to something. He has since then developed into a soloist who s very easy to listen to. He toyed for a while with some tired Hubbard licks, and I was afraid he might choose a less thoughtful style than I knew capable of; but he's come around and is playing very well. His technique is sure without compromising his phrasing, and he's always interesting. Plus, he doesn't splat. On this record he does some nice writing as well. Halyards IS a lovely thing I can t get out of my ear. John Treanor is a mass of controlled energy. He's athletic without sue" cumbing to the tempting two-beat monotony of the junk (jazz-funk) drummers, nor does he busy uP somebody else's time like so many so-called"energy" drummers like to do. He's smart, attentive, melodic, eveO courteous to the soloist. If this new record has a failing, it's that the drumming is so outstanding that it gets in the way of an appreciatio of what the other guys are doing. From his first solo feature (an altO lead on a Gershwin tune, I think) with the UT Jazz Ensemble, paul Ostermayer has matured steadily into a personable soloist with strength on all three of his horns. I admit to a preference for Paul's alt0 and soprano sounds, but that's just me. Listen to his gorgeous tenor on Bill Ginn's "47 Tears." But I feel Paul'S instrument is the soprano. When most