Tamarindo Fall Return

[Steve Reynolds]

In the Spring it was with William Parker on the bass

For last Friday and Saturday it was Tony Malaby on tenor and soprano saxophones, Nasheet Waits and Michael Formanek on bass in place of the regular Tamarindo bassist, William Parker.

My pal Maurice is in line with the two other very regular concertgoers - one who was there on Friday night and one who was not - and the pronoucement was that last night was the best Tamarindo yet. Yes - the other guy and me figured maybe we missed the best night.

Tony starts on soprano and it's all business getting to the tune, then switches to tenor and they are into one if those sinewy Malaby melodies with all that goes with it. Nasheet starts building his levels and peaks are hit quickly (for this band). After 25 minutes, the medley of a couple of tunes ends. "Mother's Love" with Tony on soprano showcased his best soprano playing I've yet heard live with drummer on brushes playing brushes like no other.

Then they take off with two older non-Tamarindo pieces that go to places I've only dreamed this band could go. Intensity higher than in any Malaby band I've seen live. Tony taking the world of the tenor saxophone to places and ranges that the books don't write about. And hour and I'm outside getting air as I could have passed out.

A young guy from across the way introduces himself to Malaby and told him he was a classically trained pianist and asked if Tony was trained as such. Tony only gave him hid pre NY resume but I found it a bit funny as if you had heard what was just played, well you had to be there - if you got my drift.

Before that he was saying that the drummer probably didn't know the intervals he was playing but I did - since I'm a classically trained pianist.

It's fucking Nasheet Waits, DUDE?!?!

Second set started slower, had a fine soprano feature or two - one specific stand alone tune in the middle - and THEN - the man named Nasheet went into about his 6th or 8th different groove but this time by the end, the most powerful intense drumming I've seen or heard on my life. And Formanek was grooving and the big man on the tenor was not overwhelmed and was there with all the flexibility and might that his beyond technique could muster.

The sound of those drums was as intense as is possible.

Nothing like being within 5 feet of the drum kit of the *great* Nasheet Waits

As good a show as I've seen in 10 years

Tamarindo, Baby

Edited October 27, 2014 by Steve Reynolds

[niels]

Nice review again. Just noticed that Tony put some (good quality) youtube footage of the concert up on his FB account.

[Leeway]

I haven't listened to the second set yet, but did have a chance to listen to the first set. Tony was definitely and consistently hitting the ball into the 400 foot section of the ballpark. The group was really focused and playing strong. I've been speculating that the change from Parker to Formanek caused a dynamic shift in the trio. With William there, the energy is spread all around. Formanek provides a nice fat supportive bass sound but is content with letting the "front line" of Nasheet and Tony provide the fireworks, which they obligingly do.

[Steve Reynolds]

"Bitter Dream" was right in the middle of the second set - nice interlude before the trio takes it deep. As I said, Tony's soprano playing on Saturday night was very focused and a nice foil to his more exhuberant and very powerful tenor playing.

Edited October 27, 2014 by Steve Reynolds