This is the format we hear on Paul Dunmall and Tony Bianco’s Tribute to Coltrane, the second in a trilogy
of homages by the duo, though curiously none feature works from Interstellar Space (not a conscious
decision, I’m told). The first was Thank You to John Coltrane, and the third (a double CD) should be
released by Slam next year. Coltrane’s music has been with Dunmall from the beginning. He speaks fondly
of listening to Sun Ship (Impulse!, 1971) laid out in his parents’ loft at the age of seventeen –
"a religious experience" – and he played and studied with Alice Coltrane during the three years he lived
in America in the early 1970s. Along with Evan Parker, David S. Ware, Kidd Jordan and Charles Gayle,
Dunmall is among the few tenor saxophonists to have absorbed Coltrane’s style, without imitation.
This may be a tribute to Coltrane, but Dunmall and Bianco have their own distinct voices, even when
playing Vigil, the only piece prior to Interstellar Space that Coltrane recorded with just saxophone and
drums (Elvin Jones). Both pairs start from the same place, but their journeys are quite distinct. Indeed,
Dunmall and Bianco’s richness as improvisers means that their different performances of the same tune can
highlight an aspect passed over or only alluded to on other occasions, a comparison that can be made on the
release of their third CD which will include a live set from Cafe OTO. The dialogue in this music is not
between Dunmall and Bianco, but within Dunmall’s playing as he shifts between carefully demarcated lines,
phrases and tonal areas – exploiting the harmonic ambiguity of many of Coltrane’s tunes – set against
Bianco’s backdrop of ever-shifting patterns of energy. The dynamic is altered for The Drum Thing, with
Bianco’s more sharply etched figures to the fore against a sitar-like drone and as with the original,
bookended by statements of Coltrane’s memorable theme. Dunmall’s highly focussed playing explores the kind
of development that so fascinated Coltrane – a world in a grain of sand – unpacking some of the infinitely
variable implications of even the smallest melodic cell, often in contrasting textures that move from a warm
buttery tone to something coarser, slightly frayed round the edges. In Ascent, the tiny rising motif is
something to which Dunmall keeps returning afresh, each time twisting and turning in a new direction.
By way of contrast, in Reverend King he avoids any great elaboration, leaving the gentle nobility of the
melody to speak for itself. It seems that rather less is said about Coltrane the writer, but many of his
tunes have become iconic in modern music, bearing a dignified authority that still resonates with many.
Despite their apparent simplicity, they produce a fecundity of ideas – something Coltrane may have learnt
from his time with Thelonious Monk – and which surely accounts for the continued inspiration that musicians
draw from both men’s music. As one would expect from any homage to Coltrane, Dunmall displays a considerable
technique, but always sympathetic to the emotional tone of the material, whether assertive, questioning,
yearning or conciliatory. This drama – sometimes struggle – is part of its story, and one which listeners
have found it easier to accept in the years since Coltrane’s death.
Colin Green http://www.freejazzblog.org/2014/12/john-coltrane-offering-paul-dunmall.html
I love tributes. A good tribute involves not just idolizing
the person being honored, but should also involve one's
own originality. One must bring their own voice to the
tribute, otherwise, all we get is imitation.
Dunmall has certainly been influenced by Coltrane, and
Bianco also reflects an Elvin Jones influence, but they
are not copycats. In listening to this CD one will clearly
hear the influences of the honorees, but we also hear
what they bring to party.
The approach is to play the tune and then to improvise
on the tune's structure. But the tune is not repeated at
the end, giving a freer feel to the music. The tunes end
when the improvisations end.
Bernie Koenig http://www.cadencejazzmagazine.com/membersonly/admin/assets/January2014singlepage.pdf
Coltrane is perhaps best known for his 60s quartet but the maelstroms whipped up in those groups of renown were horn ‘n' drum things, despite the chimings of the piano and the running bass. Dunmall and Bianco face their challenges head-on and impressively, though listeners unconvinced by the reduction may feel that the expression "economy of means" should be interpreted in more than one way. The formula is pretty much the same on all tracks, each a Coltrane original. Dunmall improvises freely in a style often favoured by JC when open-ended modal extension encouraged it, and Bianco creates a variable percussive atmosphere in which the sax lines twirl around.
Frenzy can be tiresome when the faster tempi are maintained but we are spared Elvin Jones' obligatory cymbal-splashing. Finally, on The Drum Thing, BIanco's kit grabs the attention but only as the provider of an even more accommodating surround for Dunmall at his more self-communing. Economy has spread to the album's presentation as there's no information on how the project came about or what the two musicians thing of the Coltrane legacy. Dunmall, however, says the music represents his best tenor-playing. He should know.
Nigel Jarrett Jazz Journal, October 2013
PAUL DUNMALL/TONY BIANCO//JOHN COLTRANE - Tribute to Coltrane (Slam 292;
UK) 2nd of two volumes of Coltrane covers by the duo of Paul Dunmall on
tenor & soprano saxes and Tony Bianco on drums. This colossal Coltrane
tribute was recorded live at Delbury Hall in Shropshire, UK in October &
November of 2012, for a week's worth of gigs. All nine pieces are John
Coltrane compositions from various albums. There is no doubt that British
tenor sax titan, Paul Dunmall, has been long inspired by the spirit,
playing and music of John Coltrane. Keeping that in mind, Mr. Dunmall has
rarely recorded the music of Trane. This is the second volume of Trane's
music that this particular duo has recorded. Dunmall and Bianco have
recorded in duo, trio and quartet situations previously with more than a
half dozen discs out there. On this disc, they sound especially
well-connected to the same force, power or spirit. I love the way Duns
will take a line or theme and then explore it from different directions,
waves upon waves, cascading and crashing one layer at a time, ascending
to a grand conclusion. This is not just fire and brimstone either, the
duo perform a lovely, restrained version of "Wise One" with some sublime
mallet-work by Mr. Bianco. Some of the very last recordings from Coltrane
were a duo with drummer Rashied Ali called,'Interstellar Space'. Much of
that recording was intense and over-the-top. The playing here is more
measured and moderately paced with occasional moments of frenzy. Trane's
melodies are played most reverently so that the spirit of love shines
through. This outstanding disc is some 79 minutes long, which is as much
as one can fit on a single CD. I am exhausted in a good way listening to
the entirety of this monumental endeavor. Take your time, there is a
wealth of extraordinary playing here. - Bruce Lee Gallanter, DMG
Most tenor saxophonists will admit that Coltrane is an influence, but Paul Dunmall can claim a more direct connection than many, having played with Alice Coltrane while living in the Divine Light Mission ashram in California in the early 70s. Here, he teams up once again with drummer Tony Bianco for their second tribute CD revisiting Trane compositions. Dunmall clearly demonstrates that he has imbibed deeply at the source, letting rip with a bold, yearning tone of spiritual sincerity and rightly interpreting the fanfare-like heads of Coltrane's later pieces as declarations of emotional truth. Bianco lays down a relentless blur of crisp, lightning-fast snare rolls and swelling toms that bespeak heart-bursting, oceanic love – an idiosyncratic style that, on the ride-heavy reading of "Vigil", reveals itself to be a highly stylised development of Elvin Jones's polyrhythmic innovations. How else to end this offering than with the infinity perfection of a deep tambura drone?
Daniel Spicer The Wire, August 2013
Almost exactly twelve months after recordingThank You To John Coltrane(See May'sCD Reviews), Dunmall and Bianco return to the samestudio to record this follow up. Again focussing on some of Coltrane's laterpieces the duo explore the music with vigour and reverence, and at the same timemanage to imbue the music with their own personalities. In doing so they are notonly paying homage to one of jazz's greatest improvisers but also keep the musicfresh and valid for a new generation of listeners.
In Paul's opinion the music has moved on sinceThank Youin the timebetween the recordings, and states on the cover notes to the album that "I thinkthat this Coltrane tribute CD is the best tenor playing I've done...I may haveplayed in a more musical vein here and there but as just straight blowing thetenor, this is it." A sweeping statement for a man whose career has spanned morethan thirty years, and covered a wide range of musical activities, but listeningto the music contained in this latest chapter in the vast Dunmall discographyone that is very difficult to disagree with.
From the outset, the difference in the two albums is discernible. Therecorded sound seems somewhat quieter, and even at its most vigorous the musicis never overpowering. Dunmall's tenor retains in full and round sound in thelower register, and has an evenness throughout the range of the horn, but it isthe clarity of the drums that impress. Bianco's contribution is beautifullycaptured, displaying the subtleties of timbre and dynamics that are so essential
is music of such an intimate nature.
Throughout the nine Coltrane compositions covered here, the duo produce abalanced programme that retains the listeners interest. With some of the piecesrunning over the ten minute mark, the pair always seem aware of where they wishto take the music, even when at it most free, and there is never a dull momenton the album. Not one to strive for effect for the sake of it, the saxophonistmostly plays within the natural range of the instrument and the use of multiphonics is sparing. The net result of this, is that saxophone and drumscommunicate freely and joyously, and in this well paced set the tempo and moodis varied with the more insistent 'Offering' and 'Vigil' counterbalanced withsuperlative readings of 'Wise One' and 'Reverend King'; and the superb 'The DrumThing'.
The only problem perhaps, is which of these two excellent albums to buyfirst? In my opinion, they should be purchased as a pair, and listened to ascompanion discs, and the discographers may wish to hear them in theirchronological sequence, but if pushed to choose I may just side with Dunmall andplump for this one first.
Reviewed by Nick Lea http://jazzviewscdreviews.weebly.com/
L´idea di fare un tributo alla musica di John Coltrane non è certo nuova. Le sue composizioni sono ormai degli standards suonati dai musicisti mainstream e nelle scuole di jazz, ma è certo che per un musicista che ha praticamente rifondato il suo strumento e la storia del jazz sarebbe riduttivo relegarlo soltanto nel ruolo di geniale esecutore o di innovativo compositore perchè ntrambi gli aspetti sono costantemente presenti nelle sue incisioni. Alcuni album a lui dedicati sono da ricordare per la loro originalità rispetto a quel mondo, Pat Metheny e Kenny Garrett, ad esempio, oppure la versione latina del trombonista Conrad Herwig. L´inglesePaul Dunmalled il batterista americano, ma residente a LondraTony Biancohanno già inciso un live dedicato a Coltrane, un lavoro in cui appare non solo la dedizione a quella musica ed a quel tipo di espressione, ma soprattutto una sincerità esecutiva che non sempre è dato ascoltare. Una passione incontenibile che ha portato al secondo capitolo di questo duo. Ancora dal vivo e nello stesso locale. Dunmall è più melodico rispetto al primo disco ed è sempre il grande sassofonista che conosciamo. E lo stesso vale per Bianco, che grande per come interpreta il suo ruolo. Il repertorio di Coltrane viene sviscerato, sia con le composizioni che con il modo così intenso di approcciarle. Insieme Dunmall e Bianco sono uno dei duo piú interessanti della scena jazz attuale, non due musicisti che stanno faccia a faccia, ma due interpreti sulla stessa lunghezza d´onda che hanno acquisito un´interplay ed un suono che li rende subito riconoscibili proprio perchè suonano insieme.
Vittorio Lo Conte http://www.musiczoom.it/?p=14377 29 June 2013
The idea of doing a tribute to the music of John Coltrane is hardly new.His compositions are now played by the standards of the mainstream musicians and schools of jazz, but it is certain that for a musician who has practically re-established his instrument and the history of jazz would be simplistic to relegate only brilliant in the role of performer or composer innovative because ntrambi aspects are constantly present in his engravings.Some albums dedicated to him are to be remembered for their originality with respect to that world, Pat Metheny and Kenny Garrett, for example, or the Latin version of trombonist Conrad Herwig.The EnglishmanPaul Dunmalland drummer American, but living in LondonTony Bianco have already recorded a live dedicated to Coltrane, a work in which it appears not only dedication to the music and that kind of expression, but also a sincerity that executive is not always given listen.An overwhelming passion that led to the second chapter of this duo.And still live in the same room.Dunmall is more melodic than the first disc, and is always the great saxophonist we know.And the same goes for Bianco, who plays as great for the role.Coltrane's repertoire is passionate, with both compositions with such an intense manner to approach them.Together Dunmall and Bianco duo are one of the most interesting of the current jazz scene, not two musicians who are face to face, but two interpreters on the same wavelength un'interplay and who have acquired a sound that makes them immediately recognizable precisely because they sound together.
PAUL DUNMALL & TONY BIANCO / Tribute to Coltrane (Slam Productions)
Paul Dunmall est capable, parfaitement capable, de ressusciter John Coltrane avec son saxo ténor.
Et Tony Bianco est un batteur frénétique mais attentif comme l'était Rashied Ali. Tribute to Coltrane
est leur second disque hommage à John Coltrane. Des versions très personnelles mais fort
reconnaissables des compositions de Coltrane (post-A Love Supreme). Un disque complément au premier.
Paul Dunmall is perfectly capable of channeling John Coltrane through his tenor sax.
And Tony Bianco is just as frantic and attentive a drummer as Rashied Ali was. Tribute to
Coltrane is their second Coltrane tribute CD. Highly personal (and highly recognizable) versions of
Coltrane's post-A Love Supreme compositions. Both discs go hand in hand, no need to ask yourself
which one to pick – take a chance or pick them both.
Francois Couture http://blog.monsieurdelire.com/2013/06/2013-06-05-pedra-preta-dunmallbianco.html
