Troy Roberts
(soprano/alto/tenor sax/ double bass/ electric bass); Jimmy
Macbride (drums)
(Review by
Chris K)
The twelfth
release from this multi-instrumentalist and composer as a leader. Roberts was
new to me, my first impressions were of a modern “American” sound (he is a US
based Australian) – muscular but smooth.
I’ll own up
to a certain suspicion of the undoubtedly gifted sax player taking on bass
duties, with multi-tracking of (sometimes all three) sax voices. In
pre-Covid days, why multi-track one player when you can have a real live
band?! I did find the bass on the first track, Little Room, a
bit plodding, but the rest of the album proves him a fluent and versatile bass
player too! I have warmed to the album on repeated listening, as any
feel lost in the studio construction is compensated by the clever composition
and arrangement, and the sparkle put back in by the excellent and agile
drumming of Macbride, a young NYC based sideman deluxe.
The album
title alludes to Roberts’ working routine of writing down “stuff he heard” in
his head wherever he might be, and results here in a real variety of styles,
moods and arrangements.
The
substantial, in length and content, Harry Brown (after
Michael Caine, apparently) sees Roberts lay down a long acoustic bass intro,
with a glorious whooshing entry on drums (worth replaying!) before he stretches
out with some cool tenor over walking bass. Further fantastic sax
soloing, with expressive bends and stretches (vibes of Brecker) to be
heard in Lifeline.
Prayer of
Hope has a fresh and genuinely uplifting major key
feel, with classical overtones in a peaceful interlude, before turning up the
heat for Rejekt, an uncompromising funky frolic, driven by showy
electric bass with an almost big-band sound achieved by tight multiple sax
voices.
Hightail is a
favourite, with insistent electric bass and skittering drums, unfolding into
late Weather Report repeated and melodic sax phrases. Aeonian is
slower, with polyphonic interweaving sax lines over ponderous acoustic bass,
with some Garbarek style emotion emerging through the doom before fading
away. Solar Panels is also very strong, with acoustic bass and
sax doubling leading into angular soprano rambling, with outstanding freely
blowing drums, reminiscent of some of Julian Costello’s recent work.
Overall, a
rich showcase of Roberts' composition and playing, with some staggering blowing
over clever and propulsive drums. While he can clearly write, play with great
power and subtlety, and produce, I’m left a little puzzled from this impressive
and clever smorgasbord as to who the real Troy Roberts is?
Chris Kilsby
Released
April 10, 2020. Recorded NYC January 2019
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