by Oslandailey Jazztet


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An appropriate identification apart from its reference to the Thelonious Monk-written title track, Evidence is a recording where University of Kentucky jazz professors Miles Osland and Raleigh Dailey put to the test various red brick music theorems based on specific post-bop icons of the '60s and beyond. You hear the music of Ron Carter, sprung forth from the great Miles Davis quintet, the legendary Keith Jarrett combos that featured Jan Garbarek or Dewey Redman, certain ethnic echoes, and Dailey's pithy modern jazz originals. Osland plays upper octave, high-quality saxophone, quite accomplished, barely pushing the envelope, but offering his pleasantries in a voice that definitely reflects his influences, and his experience charting the course of colorful big-band charts. Capable bassist Danny Cecil and drummer John Willmarth more than hold up their end of this bargain with the deft rhythmic curveballs and sliders thrown their way. Dailey is impressive as a player and composer, extending the breadth and depth of this music, providing his own personal case study into an attempt playing jazz via conventional terms. Of the eight originals penned by Dailey, "Title Goes Here" inserts a churning, funky swing urging on the spirited soprano sax of Osland, "A Long Way to Go" is more soulful with Osland's Dave Liebman-flavored, upper-end woodwind, and "Flashpoint" conveys a combination of modern and contemporary music in its probing facade, defined by the pithy bass playing of Cecil. "Mode Three" goes back and forth like a pendulum between modal and bop reference points with a sharp sense of smartness, while the ballad "Forgetting" has the largest quotient of Dailey's prettier and pristine piano sensitivity, with Osland on flute. They get their hard bop ya ya's out during the jaunty Dailey chart "The Letter" as if to stretch out and jam in a manner not reflected by the other selections, where the title track similarly pops and crackles, with a staccato branding driven into a funky bottom bridge. Carter's "Eighty One" is well plumbed by others, but here uses a pedal point in a unique way to set up a natural sprit song motif that is removed from the original. Willmarth's arrangement of "R.J." is much more complex, being batted back and forth like a long tennis rally in beats of seven and nine. From Jarrett's old and revered repertoire, "Long as You Know You're Living Yours" is more in the soul-jazz, bluesy mode rather than ultra-modernistic, but "Spiral Dance" is a crown jewel, very reminiscent of the band where Jarrett, Charlie Haden, Paul Motian, and Guillerme Franco dwelled, with Osland only slightly echoing Redman or Garbarek. It is on "A.I.R./All India Radio" that the band steps away from the rest of the material. One of two tracks recorded in concert, the quartet adopts the moody visage of this Carla Bley composition, done originally on the great album Escalator Over the Hill with Don Cherry, redone by Garbarek and Bobo Stenson, and re-created here in a thinly veiled, slower pace, with the group accurately evoking the Native American and East Indian fusion of tones and feelings from the second version. This band -- at the time of recording in its fourth year -- is capable of a lot, as showcased on this ambitious recording, perhaps less focused in style, but executed well, and accessible to most modern mainstream jazz listeners.

Product Details

Release Date: 09/08/2009
Label: Sea Breeze Records
UPC: 0017231309024
catalogNumber: 3090

Album Credits

Performance Credits

Oslandailey Jazztet   Primary Artist
Miles Osland   Flute,Saxophone,Group Member
Raleigh Dailey   Piano,Group Member
John Willmarth   Drums
Danny Cecil   Bass

Technical Credits

Carla Bley   Composer
Ron Carter   Composer
Keith Jarrett   Composer
Jazztet   Arranger,Engineer
Miles Osland   Producer
Danny Beher   Preparation for CD Release
Jeff Coffin   Liner Notes
Dan Haerle   Liner Notes
Thelonious Monk   Composer
Raleigh Dailey   Arranger,Composer
Sam Davis Johnson   Cover Art
John Willmarth   Arranger
David Henderson   Engineer

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