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by Matt Pivec
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 Horizon Reassembled | | Personnel: Bobby Watson, Alto Sax; Terell Stafford, Trumpet, Flugelhorn; Edward Simon, Piano; Essiet Essiet, Bass; Victor Lewis, Drums. | | Tracks: Lemoncello; Pere; The Love We Had Yesterday; Ginger Bread Boy; Horizon Reassembled; The Look of Love; Eeeyyess; Permanoon; Dark Days; Dark Days (interlude); Xangongo. | |
Bobby Watson and Horizon
Horizon Reassembled
Palmetto Records 2102
There are few real bands in jazz. A variety of factors (differing interests, the need to make a living, the music business itself) prevent musicians from working together over an extended period of time towards a common musical goal. In the mid-1990’s, jazz lost one of its real bands when the members of Horizon agreed to part ways. After an eight year separation, Horizon reformed in 2004 with the same personnel as when they parted. As Bobby Watson states in his liner notes, “We needed space apart artistically to grow and develop individually.” Horizon Reassembled from Palmetto Records is the end result of this eight year period of individual development away from Horizon. As listeners, we are fortunate to be witness to this musical and family reunion.
Put simply, Horizon Reassembled is outstanding. Each member, a master musician in his own right, puts equal emphasis on both individual and group expression. The quality of the compositions and arrangements by the members of the band is matched by the diversity of styles. Throughout the eleven tracks, the listener is greeted with fierce hard bop, poignant ballads, joyful sambas, and complex odd-meter tunes. Some pieces have such beautiful melodies that they stick with the listener after one hearing. Other pieces have rhythmic components so strong that a melody is hardly necessary. Each composer’s individual expression is given the full musical commitment by the members of the band.
Heeding Mr. Watson’s advice from the liner notes, I listened to this recording five times; one time for each member of the band. He even gives us meaningful listening tips based on his own experience in this recording. Here are some additional observations about the contributions of each member to the group.
Pianist Edward Simon demonstrates some of the most responsive and varied comping I have heard recently. As shown by his performance on Watson’s solo during “Lemoncello,” he is sensitive to the slightest mood changes dictated by the soloist and reacts in a heartbeat. At times, he even anticipates the move of the soloist. Another compelling feature of his comping is the variety of techniques (perhaps even non-traditional) he uses to support the soloists’ ideas. Examples of this include the bell-like tones in “Lemoncello” or the repetitive rolling figures and staggered chords during Stafford’s solo on “Pere.” “The Look of Love” provides an example of his delicate touch and ability to seamlessly connect Watson’s phrases. In addition to his wonderful comping, Simon contributes many outstanding solos as well as one of the most exciting compositions on the album, “Pere.”
Essiet Essiet’s technical ability on the bass is most clearly revealed to the listener through his own composition “Xangongo.” The static horn lines allow his active bass line to reach closer to the musical foreground. Essiet’s ability to provide a solid foundation in any style is as impressive as his technical skills. He is equally consistent on fast walking lines as on odd-meter ostinati. Finally, Essiet possesses a beautifully dense tone on the bass, which is heard most clearly on the softer selections “The Love We Had Yesterday” and “The Look of Love.”
Victor Lewis’ performance on “Gingerbread Boy” says it all. He swings hard throughout the entire piece and provides plenty of support to both Stafford and Watson. (Be sure to check out the way he maintains the tension during the transition between Stafford’s and Watson’s solo.) He even sustains the energy even while playing at a much softer volume during Simon’s solo. His own stellar solo over the vamp at the end of the tune provides a fitting ending to the track.
Terell Stafford demonstrates the capability to execute a number of sounds and approaches to the trumpet. His sound is bold and brassy in certain situations, but dark and intimate in others and the plunger mute-aided performance on “Eeeyess” is particularly effective. Stafford has plenty of technique, as demonstrated by his nimble execution of Simon’s melody on “Pere.” He provides excellent solos throughout: “Gingerbread Boy,” in particular, contains a great balance of motivic development, harmonically sophisticated ideas, and blues.
“Gingerbread Boy” is also a great vehicle for Bobby Watson to showcase his ability to effortlessly negotiate chords changes. Watson plays with strength and fury on “Pere.” He also evokes a mood of vulnerability on “The Love We Had Yesterday.” As a composer, he contributes four excellent pieces to the album. As a leader, he reassembles a great group of musicians for a stellar recording. In short, he does everything we might expect from one of the most significant jazz musicians of the past thirty years.
While each member of Horizon demonstrates great individual expression, it is clear by their interaction on this recording that the focus is as much on the band’s collective expression as that of the individual. Thanks Messrs. Watson, Stafford, Simon, Essiet, and Lewis for reassembling. To echo Mr. Watson, “Long Live Horizon!”
For more information on Horizon visit HorizonJazz.com |
Matt Pivec |
| About the author: |
| Saxophonist Matt Pivec has performed with some of the great artists of jazz and popular music including: Ray Charles, The Temptations, Peter Erskine, Maria Schneider, the Rochester Philharmonic Pops Orchestra, and the national touring companies of Hairspray, 42nd Street, and The Producers. |
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