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Album Reviews
Reviewed
By Bob Frapples
On PATUXENT, Lagana presents a challenging union of
styles. From the be-bop of “Get Away,” to the acoustic folk-y jazz
of “Both Sides,” to the Spanish-tinged fusion of Patuxent’s title
track and the world music vibe of “Charmed,” Lagana and cohorts
celebrate the original spirit of jazz, albeit with a fresh, contemporary
blueprint. Trad-jazzers will appreciate a track like “Mantris” which
takes its cue from classic Coltrane but incorporates a vibe reminiscent
of Eric Dolphy’s hip 60’s work. During the head, Lagana’s harmony
line melds nicely with Chris Bacas’ sax. Traces of Tal Farlow pop up
during Lagana’s solo. On the plaintive “North End,” Lagana pays
tribute to Boston’s famous Italian neighborhood with a minimalist
piece arranged for guitar. Elsewhere, Lagana demonstrates his mastery of
indigenous music; the disc’s final track “Ginga” breathes with a
fiery Afro-Cuban pulse that leaves plenty of space for the guitar and
flute to weave in and around the driving bass line. Drummers will
appreciate Marty Morrison’s relentless drive and Tony
Williams-inspired tom work on the title track—clearly the disc’s
showcase piece. However it is Frank Russo who wins the drum-off with
“Get Away.” He keeps it simple at first, marking time on the ride,
but later cuts loose just long enough to get the sawdust flying before
passing the baton to Max Murray for a tasteful bass solo.
Compositionally, Lagana demonstrates a clear understanding of where jazz
has been and—and in the tradition of those who have come before
him—he strikes an important balance between deferentially tipping his
hat to the masters and making his own statement. Such a balance is vital
to ensuring the promulgation of the art form and evidently, is a driving
force behind the Tom Lagana Group’s explorations.
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Historically,
the jazz idiom has been seen as somewhat of a contradiction. At the
heart of jazz is the desire to push boundaries, transcend the norm and
break ground, yet there have been various elitist factions within the
jazz community that have ostracized those who have attempted to boldly
go where no man has gone before. Witness the backlash against Miles
Davis when he went electric. Thankfully, the nay-sayers have largely
been quelled, and the playing field cleared for progressive-thinking
jazz artists, like Tom Lagana.