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" Two top-flight sets from a single night of a fine week's engagement at the Village Vanguard in更多>
" Two top-flight sets from a single night of a fine week's engagement at the Village Vanguard in New York City. All six compositions are Waldron's and his playing is supremely economical, sketching in tonal centres with a minimum of elaboration, soloing on the faster tracks with a positive touch, shading beautifully on the slow 'Seagulls Of Kristiansund'. This shows a side of Waldron's work which some critics have likened to American minimalism: a slow accretion of almost subliminal harmonic and rhythmic shifts steadily pile up until the music seems ready to overbalance. Perhaps oddly - for subsequent releases from live or studio sessions rarely match up to the original albums - the second album is more appealing. The Git Go consists of no more than the title-piece and an overlong 'Status Seeking', which seems to have lost much of the terse discipline Waldron brought to it on The Quest. On the second album, Waldron kicks off'Snake Out' with a men-acing bass pulse that builds up almost unbearable tension before loosing Woody Shaw on one of his most unfettered solos. Rouse's solo is more compact and provides a taut bridge between Shaw and Waldron, who plays lyrically over a bleak vamp. Blackwell and Workman both solo effectively, though the drummer's finest moment comes at the end of'Judy', the middle track of the set and a tribute to Waldron's great supporter, Judy Sneed. Shaw's solo is astonishing. Blackwell shines again on 'Seagulls', producing non-metrical effects on his splash cymbal; Workman's foghorn and seabird effects are straight out of Mingus's bag. The Git Go has some longueurs, but its successor is thoroughly and straightforwardly enjoyable, and should be tried for size. Penguin Jazz Guide
