Artist: Timo Lassy
Genre: Contemporary Jazz
Quality: mp3, 320 kbps
Q & A (feat. Ricky-Tick Big Band Brass)
Lashes (feat. Ricky-Tick Big Band Brass)
Northern Express (feat. Ricky-Tick Big Band Brass)
Elegy For a Free Spirit (feat. Ricky-Tick Big Band Brass)
E71 (feat. Eero Koivistoinen)
Casa De Ferro (feat. Eero Koivistoinen)
Harlem’s Way (feat. Joyce Elaine Yuille)
Sundown at Sunset
Trouble (feat. Paleface & Joyce Elaine Yuille)
Finnish tenor specialist Timo Lassy presents his sixth album in ten years, featuring the Ricky-Tick Big Band Brass with their splashes of Latin colour and pzazz on three tracks.
There is in general a busy sense of diversity on these bright polished tints and patterns and there are few, if any, intimate moments. Q & A is an impressive opener featuring the aforementioned Ricky-Tick outfit, Lassy’s tune carried, like so much of this record, on the feathery back of that vibrant percussion bird that might have migrated from Africa via Rio.
The second track, Love Spirit opts for a gentle soul groove, Giorgios Kontrafouris’s Fender Rhodes and some electronica beeps making it kind of interesting. However, if you heard it in an elevator you mightn’t stay till the end and I guess the lazy ear might take it for muzak. (How do you tell the difference between music and muzak? Discuss.)
Track three, Lashes, sashays along merrily like a theme for an ironic cop show that doesn’t take itself too seriously.There are trombone and sax accents and solos and a continuous ribbon of swishy percussion and Witches Brew-style keyboard dissonance. What’s not to like then?
Northern Express, another one featuring the Ricky-Tick Big Band Brass, continues the surfy breeziness, brushing percussion and that ubiquitous conga from one Abdissa Assefa. Those growling horn lines punch in at metronomic intervals, underscoring Lassy’s soaring lead sax.
By contrast, the mildly forlorn ballad Elegy For A Free Spirit seems to quote ever so briefly Spring Can Really Hang You Up the Most. The thing experiments with time signatures but frankly I would have preferred of they had just played Spring Can Really Hang you Up the Most.
The title track, Moves, has a lengthy interlude where all that obtrusive brass peels way and leaves it to Kontrafouris to perform an extended piano exercise along with just drums or percussion (either/or or both, hard to discern.) This sequence is interesting because you just cannot have an album that is all in-your-face horns, it would just get tiresome.
Trouble features a rap from one Paleface and singing from Joyce Elaine Yulle and soulful sax but the exercise somehow limps to the finish, or never really gets going in the first place. Whatever the case, Maas must be given credit for assembling many elements and generating bright facets of sound on Moves.
By Paddy Kehoe