6.13.12 Nine Winds Festival Part 2 [Walsh Set Trio + Gavin Templeton Quartet]
Nine Winds Records 35th Anniversary Festival Part 2
Walsh Set Trio + Gavin Templeton Quartet
In 1977, the multi-instrumentalist, composer and band leader Vinny Golia formed Nine Winds Records. Since that time Nine Winds has grown substantially, presenting New Jazz, Contempory Classical, and Improvised music from the West Coast of North America.
The catalogue includes selections from kindred spirits such as: pianists Paul Plimley, Richard Grossman,Bob Rodriquez, Tad Weed, Dave Ferris and Wayne Peet, percussionists Dick Berk, Brad Dutz, and Alex Cline, bassists Bertram Turetzky, Ken Filiano, Lyle Ellis, Steuart Liebig, and Eric von Essen, guitaristsLarry Koonse and Nels Cline, saxophonists Kim Richmond, John Gross, Bert Wilson, Rich Halley,Tony Malaby and Steve Adams, trombonists George Lewis, John Rapson, Joey Sellers, and Michael Vlatkovich, vocalist Bonnie Barnett and the Barnett Band, the electric groups of flugelhorn/trumpet playerJohn Fumo, Doppler Funk, Continuum, Lunar Adventures, Quartetto Stig, and Sub-Media, along with many others, such as the New Klezmer Trio, Wadada Leo Smith, Mark Harvey’s 20 piece Jazz Ensemble Aardvark, The New Orchestra Workshop, and Big World. All these groups are from North America’s West coast.
Today, over 120 releases later, the Nine Winds label is known for both its high quality recording values as well as its consistently intelligent and adventurous music. The albums have garnered critical acclaim in diverse publications throughout Canada, the United States, Europe and Japan. In addition, Golia’s album, Solo (NW 0104), received an award of merit from the National Association of Independent Record Distributors and Manufacturers. Almost every year records from the Nine Winds catalog have been picked by critics and readers of journals for their “years ten best” lists. Nine Winds has become quite a special label representing the under-valued musicians from North America’s West coast. The label’s recent releases have documented the new music scene from Vancouver B.C. to San Diego, California.
A brief overview of the other musicians appearing on the label in various roles includes John Carter, Bobby Bradford, Bobby Shew, Chuck Metcalf, Michael Formanek, Phil Sparks, Rob Blakeslee, Bruce Fowler,Kendall Kay, Stuebig, Billy Mintz, Mike Fahn, BobSheppherd, Kate Hammet Vaughn, Claude Ranger, TimBerne, Ricky Kelly, Roberto Miranda, John Gross,Tootie Heath, Herman Riley, Clay Jenkins, Mike Fahn,Ben Goldberg, Kenny Wollesen, Sam Most, Jeff Kaiser,Baikida Carroll, and Kei Akagi to name only a few.
“Cal Arts ain’t no clone factory. Musicians who come out of that university sound like themselves, and it’s usually worth making their acquaintance.
Clarinetist Brian Walsh, for instance, has woven himself into the fabric of L.A. improv for some years alongside Vinny and Nels and the gang; I think this trio thing is his first record as a leader. It’s avant, sure, but he gives you a star to steer by.
Without disrespect to the hi-flites of Benny Goodman and Barney Bigard, Walsh favors the darker hardwood ranges of the clarinet, which he wrangles in its B-flat and bass manifestations. His tone is clear but rich, his technique crisp but unfussy. And as an improviser, he can spin off strong centrifugal flow, knowing to stop before he runs out of ideas. For untrammeled whammo, Walsh indulges in a couple of pad-rattling solo excursions that banish any evil spirits of restraint.
The trio’s “Set One” sports a certain tension between freedom and communication. One senses that drummer Trevor Anderies prefers the gently stirred cymbals and rumbling toms of “14,” so the slightest current of irony surfaces when he’s required to swing a straight titty-boom, as on “Blues for Lee Van Cleef” (with Walsh’s dryly incredulous clarinet commentary), or when he’s called upon to take a quick blues walk, as on the boplicious “Ivar’s Octopus.” Still, he’s aware that kind of stuff is where the audience connection lies, and bassist Colin Burgess’ big, confident boom throughout makes the same entrée.
Still, these dudes make no apologies for their eccentricities — you can’t miss the quirks in the thunderfoot unisons and Tuvan vocal accents of “Eserav” or the tweet, roll & sproing of “The Imp.” A good compromise: “The Madness of Hans Petter Bonden,” combining hard angles with the drive of a hoppin’ contrapuntal tango.
Most approachable, though, is the sole non-original, “A Little Pain,” Walsh mentor Bobby Bradford’s tribute to Billy Strayhorn. It’s got a pretty melody, a gently butt-twitching rhythm, a bluesy segue and a sensitive offbeat jam, which should be about all you need.
Imaginative musicians, of course, are never satisfied until the wheel has been thoroughly reinvented. Who says it’s gotta be round?” - Greg Burk, review of Walsh Set Trio, “Set One” (Nine Winds)
Gavin Templeton was born in Atlanta, Georgia, but was transplanted at an early age to Reno, Nevada. When he was five, Gavin began studying classical violin, but switched to the alto saxophone a few years later. It was while he was studying saxophone privately that his teacher introduced him to the music of Charlie Parker. Gavin felt an instant affinity with bebop music. He began to memorize Parker solos and perform them for friends, family and, later, at his saxophone teacher’s gigs, where he would be invited up to the bandstand to perform.
Gavin began his professional career in his teens. He played with area musicians and visiting artists such as Wayne Newton and The Temptations. These experiences fueled his desire to continue studying music, and inspired him to learn other woodwind instruments, as such skills were necessary to play much of that repertoire. He enrolled in the Jazz Studies program at the University of Nevada, Reno, where he received a Bachelor of Music degree.
Always curious, Gavin experimented playing in a variety of musical genres and contexts. During college he performed, recorded, and toured with high energy rock and funk groups. He views those years as a crucial part in his musical development. The electrifying music and emotions of rock and funk are integral to his performance style.
Gavin moved to Los Angeles in 2006. He went on to receive a Master’s degree from the California Institute of the Arts where he focused on composition and performance. In addition to jazz, he spent significant time studying Indian classical music, West African drumming, traditional Balkan music, and modern classical composition. That exposure lead him to join the Eastern European-influenced band, PLOTZ!, and co-create the experimental improvisation group DR. MiNT.
In addition toPLOTZ! andDR. MiNT, Gavin performs under his name in varying configurations, and is a member of the Vinny Golia Sextet. He has performed and/or recorded with Charlie Haden, Herbie Hancock, Wayne Shorter, Joe LaBarbera, Nels Cline, Larry Koonse, Darek Oles, the New Century Players, Butch Morris, Alfred Ladzekpo, Swapan Chaudhuri, Peter Epstein, David Rosenboom, daKAH Hip Hop Orchestra, The Temptations, and Wayne Newton, among many others.
Gavin’s most recent album ‘Asterperious Special’ is scheduled for release on Nine Winds Records in Spring 2011. The album is comprised of his original compositions, and he is joined by Joe LaBarbera, Darek Oles, Larry Koonse and Gary Fukushima.
VINNY GOLIA SEXTET @ 11pm
As a composer Vinny Golia fuses the rich heritage of Jazz, contemporary classical and world music into his own unique compositions. Also a bandleader, Golia has presented his music to concert audiences in Europe, Canada, Mexico, Japan, Australia, New Zealand and the United States in ensembles varying dramatically in size and instrumentation. Mr. Golia has won numerous awards as a composer, including grants from The National Endowment of the Arts, The Lila Wallace Commissioning Program, The California Arts Council, Meet the Composer,Clausen Foundation of the Arts, Funds for U.S. Artists and the American Composers Forum. In 1982 he created the on-going 50 piece Vinny Golia Large Ensemble to perform his compositions for chamber orchestra and jazz ensembles.
A multi-woodwind performer, Vinny’s recordings have been consistently picked by critics and readers of music journals for their yearly “ten best” lists. In 1990 he was the winner of the Jazz Times TDWR award for Bass Saxophone. In 1998 he ranked 1st in the Cadence Magazine Writers & Readers Poll and has continually placed in the Downbeat Critic’s Poll for Baritone & Soprano Saxophone. In 1999 Vinny won the LA Weekly’s Award for “Best Jazz Musician”. Jazziz Magazine has also named him as one of the 100 people who have influenced the course of Jazz in our Century. In 2006 The Jazz Journalists Association honored him with a Lifetime Achievement Award.
Golia has also contributed original compositions and scores to Ballet and Modern Dance works, video, theatrical productions, and film. As an educator Vinny has lectured on music & painting composition, improvisation, Jazz History, The History of Music in Film, CD & record manufacturing and self-production throughout the United States, Europe, Mexico, New Zealand and Canada. He currently teaches at California Institute of the Arts. In 1998 Golia was appointed Regent’s Lecturer at the University of California at San Diego. In 2009 Vinny Golia was appointed the first holder of the Michel Colombier Performer Composer Chair at Cal Arts.
Vinny has been a featured performer with Anthony Braxton, Henry Grimes, John Carter, Bobby Bradford, Joelle Leandre, Leo Smith, Horace Tapscott, John Zorn, Tim Berne, Bertram Turetzky, George Lewis, Barre Phillips, The Rova Saxophone Quartet, Patti Smith, Harry “the Hipster” Gibson, Eugene Chadburne, Kevin Ayers, Peter Kowald, John Bergamo, George Gruntz Concert Jazz Band, Misha Mengelberg, Han Bennick, Lydia Lunch, Harry Sparrney and the Los Angeles Philharmonic Orchestra amongst many others.
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- June 12, 2012 / 3:33 am
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