Troy Roberts (tenor sax); Joey DeFrancesco (organ x 3); Emmet Cohen (organ x 5); Jeff 'Tain' Watts (drums).
(Review by Lance).
The Aussie tenorman's 11th album, the 4th to grace these pages, and it's another belter! How could it not be with these guys? Roberts is undoubtedly suited to the organ trio set-up and B3 superman DeFrancesco spurs him on with that big fat sound he conjures from the beast and, on the tracks where Cohen is at the keyboards, Emmet does likewise.
On the up numbers such as Sly Old Dog Roberts goes for the jugular taking the tenor to the limit - soaring off the edge of the world - can a saxophone get rabies? Fortunately, just before the man in the white coat arrives, sly old dog that he is, Roberts takes it down to a mellow ending.
By contrast, Jack the Sipper is a cool bossa.
On the up numbers such as Sly Old Dog Roberts goes for the jugular taking the tenor to the limit - soaring off the edge of the world - can a saxophone get rabies? Fortunately, just before the man in the white coat arrives, sly old dog that he is, Roberts takes it down to a mellow ending.
By contrast, Jack the Sipper is a cool bossa.
The last time I heard Little Man You've Had a Busy Day I think it was sung by Al Bowlly although it seems as though Clapton recorded it in 2016. It's a lovely tune displaying Robert's sensuous tone and he does it justice.
The Wizard of Ozroop, probably a reference to a town in the Outback, is another one that gives Roberts' fingers and embouchure a workout. The section where he and Watts go for broke had me applauding as if I was there! When Roberts steps down, Watts continues his onslaught behind Cohen before all three indulge in some fours.
The opener, My Girl is Just Enough Woman For Me, often featured in a Stanley Turrentine setlist and Roberts, DeFrancesco and Tain take it along at a nice easy pace. The tenorman making his virtuosity known early on.
Kern's Why Was I Born? is balladic perfection from both Roberts and Joey D with Watts, for once, suitably restrained (don't get me wrong, JTW is a man for all seasons) and I don't visualise the Kern estate taking action as they once did against Maynard Ferguson for his rendition of All the Things You Ain't!
Trams is smart - literally. The bassline like the title is played backwards! Troy is seemingly fond of compositional games. It swings.
The Waltz of Parting Days is suitably melancholic although if it is in waltz time it's not immediately apparent. It's still very listenable as is the whole album.
Of the 8 tracks Roberts composed 6. Not many tenor players around who can retain the lyricism of yesterday whilst heading for tomorrow - Troy Roberts is one such player.
Lance
More.
The opener, My Girl is Just Enough Woman For Me, often featured in a Stanley Turrentine setlist and Roberts, DeFrancesco and Tain take it along at a nice easy pace. The tenorman making his virtuosity known early on.
Kern's Why Was I Born? is balladic perfection from both Roberts and Joey D with Watts, for once, suitably restrained (don't get me wrong, JTW is a man for all seasons) and I don't visualise the Kern estate taking action as they once did against Maynard Ferguson for his rendition of All the Things You Ain't!
Trams is smart - literally. The bassline like the title is played backwards! Troy is seemingly fond of compositional games. It swings.
The Waltz of Parting Days is suitably melancholic although if it is in waltz time it's not immediately apparent. It's still very listenable as is the whole album.
Of the 8 tracks Roberts composed 6. Not many tenor players around who can retain the lyricism of yesterday whilst heading for tomorrow - Troy Roberts is one such player.
Lance
More.
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