{"id":8657,"date":"2017-09-20T17:08:33","date_gmt":"2017-09-21T00:08:33","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=8657"},"modified":"2017-09-20T17:08:33","modified_gmt":"2017-09-21T00:08:33","slug":"recent-listening-in-brief-3-trumpets-redux","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2017\/09\/recent-listening-in-brief-3-trumpets-redux\/","title":{"rendered":"Recent Listening In Brief: 3 Trumpets Redux"},"content":{"rendered":"

Dick Titterington<\/strong>, The 3 Trumpet Band Live at The 1905<\/em><\/a> (Heavywood)<\/p>\n

\"\"The 3 Trumpet Band recorded their third album before an audience at The 1905, an upscale pizza emporium on the east side of Portland, Oregon. Some reviewers have called the place the successor to the belated Jimmy Mak\u00e2\u20ac\u2122s<\/a> club. That\u00e2\u20ac\u2122s a stretch, but the night Dick Titterington and his sextet recorded this album there, listeners might have been persuaded that it was so. Trumpeters Titterington, Paul Mazzio and Thomas Barber are the front line, with the all-star Portland rhythm section of pianist Greg Goebel, bassist Dave Captein and drummer Jason Palmer. All of the compositions are by Titterington, with the exception of Captein\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Ass Divot,\u00e2\u20ac\u009d whose title may not have anything to do with golf.<\/p>\n

The opening track, \u00e2\u20ac\u0153Kakistocracy,\u00e2\u20ac\u009d establishes a level of trumpet virtuosity that holds throughout the album. The dictionary says that a kakistocracy is \u00e2\u20ac\u0153a system of government run by the worst, least qualified, or most unscrupulous citizens.\u00e2\u20ac\u009d From the slurs, squeezes and growls of Titterington\u00e2\u20ac\u2122s opening solo on that piece to the beautifully harmonized ending of \u00e2\u20ac\u0153Bass Line,\u00e2\u20ac\u009d the musicianship is scrupulous, with no indication of kakistocracy but plenty of energy and inventiveness. The descriptive trumpet sparring and allusions of \u00e2\u20ac\u0153The Dark Clown\u00e2\u20ac\u009d are what horror novelist Stephen King might have come up with if he wrote music. Mazzio\u00e2\u20ac\u2122s and Barber\u00e2\u20ac\u2122s solos intensify the ominous atmosphere of the piece. Pianist Goebel\u00e2\u20ac\u2122s showcase is \u00e2\u20ac\u0153Emma,\u00e2\u20ac\u009d with a short, evocative, solo that Barber\u00e2\u20ac\u2122s trumpet solo matches for expressivity. Goebel follows with rich harmonies in an extended improvised coda. It is a moment of meditation in an album packed with stimulating trumpetism.<\/p>\n","protected":false},"excerpt":{"rendered":"

Dick Titterington, The 3 Trumpet Band Live at The 1905 (Heavywood) The 3 Trumpet Band recorded their third album before an audience at The 1905, an upscale pizza emporium on the east side of Portland, Oregon. Some reviewers have called the place the successor to the belated Jimmy Mak\u00e2\u20ac\u2122s club. That\u00e2\u20ac\u2122s a stretch, but the […]<\/p>\n","protected":false},"author":2,"featured_media":8658,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-8657","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-main","8":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8657","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=8657"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/8657\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media\/8658"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=8657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=8657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=8657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}