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ADAM UNSWORTH,
EXCERPT THIS! The stylized flames flickering from the upended bell of a French horn on this disc’s packaging work as visual counterpart to the calefactory nature of the band’s musical concept. Unsworth carries heavy credentials as a faculty member of Temple University and a regular on the roster of the Philadelphia Orchestra, but he’s also well versed in hot, roll-up-your-sleeves improvisatory swing. His chosen instrumentation may be eccentric, but the creative blend of brass, winds, strings, and percussion serves his purposes perfectly. The presence of Thimmig and Miceli also bring to mind the classic Sixties pairing of Dolphy and Hutcherson. Monroe favors folk in her arco voicings, coming on like a freer leaning Stephane Grappelli with sharp slicing strokes and piquant, sometimes keening, tonality during the round robin of solos on the title track. Unsworth coaxes slippery trombone sonorities on the luminous ballad “Third Time’s the Charm” riding out a whitecap rhythm from Rochester and shimmering counterpoint from Miceli’s mallets before handing on the baton. That tonal diversity on display made me revisit the notes to confirm French horn as Unsworth sole implement. His extended unaccompanied improvisation “Halfway There” first references the instrument’s chamber applications, a somber fanfare-like theme shaping out of a string of rounded, swelling notes and accelerating into more swing peppered with guttural vocalizations and later a coda steeped in poignancy. The verdant and expansive arrangements of “Waltz With a View” work as a beautiful contrast, forwarded on the supple phrasings ofThimmig’s flute. Once again, the seams connecting ensemble and solo passages reveal sturdy, though malleable construction and a fertile range of possibilities. The suite-structured “Graham’s Crackers” once again gives the band a rest as Unsworth puts his horn through an athletic set of paces loosely governed by the stylistic titles of the parts. Several of the tracks stretch to protracted lengths, seemingly reflecting the radio-directed challenge couched in the disc’s combative title. Considering the complexity and care obviously devoted to each piece, such possible attempts at commercial friendly dissection seem almost blasphemous, not to mention foolhardy. Unsworth’s obvious marketing appeal lies in the relative rarity of his horn as lead voice. This set proves such gimmickry inconsequential in light of his talents as composer, leader, and improviser. Based on the beauty and creative energy in abundance here, I certainly plan to keep my ears open for future installments. --Derek Taylor, Cadance
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