- William Parker Bass
- Nasheet Waits Drums
- 1 - Buried Head
- 2 - Floral and Herbacious
- 3 - La Mariposa
- 4 - Tamarindo
- 5 - Mother's Love
- 6 - Floating Head
Buried Head, Floating Head
Opening that buried head, up and down the staircase steps coalescing into time articulation with sparks abounding - Nasheet and William mixing and matching - Malaby suspending the buried head, buried in suspensions. Soprano head, oboe neck, fluted torso. Body language spoken fluently, listen, listen HEAR. Modulation in time, in tempo, in tone, in color. Twisting triumvirate coursing to the finish line. Speaking of flowers and scent, herbacious and bent inhabited by butterflies, active sanguine singing Sweet and touching end still winging Skirting the saccharin for the tamarind Searing soprano being flute, being oboe, being and becoming a Mother’s Love like no other Brujo sourcing and drawing spirits from metal William ushering incantations through maple and spruce Nasheet tying the worlds words together with wood, metal and skin Confluence, concurrence musicians speak Three to one another, menacing and fleet Sound as component - sound as music - sound as meaning sonic worlds abound - Malaby sound. He is sonic, he is time, he is gesture He is inherent sound in meaning of sound, soundly. Heads are floating, Hearts exploding and on, and on and on....
Liner Notes by Mark Helias
Tamarindo Review from the New York Times
|Within the last decade the tenor and soprano saxophonist Tony Malaby has earned a reputation as one of New York’s stalwart improvisers, through an array of sideman appointments and some rigorously rewarding albums. As a leader he favors trios, working often with bass and drums. On “Tamarindo” (Clean Feed) the bassist is William Parker, and the drummer is Nasheet Waits, and both musicians bring a driving purpose to the task.||
Photo by Hiroyuki Ito for The New York Times
|Meanwhile Mr. Malaby, simmering as often as he squalls, coherently pushes the music forward. Clearly this band, which has occasionally billed itself as Tony Malaby’s Exploding Heart, should continue working, even though Mr. Malaby has other immediate plans: His next album will feature the drummer John Hollenbeck and the cellist Fred Lonberg-Holm, who also join him in performance at Barbès on Wednesday and at the Cornelia Street Café on Friday.|
Review of Tamarindo from jazzreview.com
This is a high-impact free-form progressive jazz extravaganza brought to us by three hard-hitting heavyweights of the genre. No doubt, this trio comes at you from all angles, to include avant world-music tinged passages to asymmetrical swing vamps, often accelerated by drummer Nasheet Wait’s pulsating ride cymbal strokes. Tenor/soprano saxophonist Tony Malaby pronounces moments of angst and terror while bass great William Parker punches out the sinewy discourses via fluid lines and gruff, arco passages.
It’s a mighty force of three that lays it all out within various rhythmic matrixes. With jangling drums, pounding accents and a great deal of counterpoint, the band also delves into nip and tuck style motifs. They instill a sense of perpetual movement throughout. And it’s the largely, budding frameworks that often serve as the foundation for Malaby’s spiraling sax lines. For example, on “Floating Head,” the rhythm section executes a cascading Latin vamp, while subsequently slamming matters into overdrive. In effect, sparks are flying everywhere.
The band tones it down and alternates the flow in numerous segments, but the preponderance of this set is designed with fortitude and power. To that end, the musicians integrate numerous emotive aspects that shine glisteningly through the art of intuitively generated improvisation. They’re at the top of their game here.
See the review here!