{"id":9195,"date":"2018-03-01T19:58:36","date_gmt":"2018-03-02T03:58:36","guid":{"rendered":"https:\/\/www.artsjournal.com\/rifftides\/?p=9195"},"modified":"2018-03-01T22:37:28","modified_gmt":"2018-03-02T06:37:28","slug":"review-martin-winds-light-blue","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2018\/03\/review-martin-winds-light-blue\/","title":{"rendered":"Review: Martin Wind&#8217;s &#8220;Light Blue&#8221;"},"content":{"rendered":"<p><strong>Martin Wind<\/strong>, <a href=\"http:\/\/amzn.to\/2oAs2Fh\" target=\"_blank\" rel=\"noopener\">Light Blue<\/a> (Laika)<\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignleft size-full wp-image-9196\" src=\"https:\/\/www.artsjournal.com\/rifftides\/wp\/wp-content\/uploads\/2018\/03\/511kmq1YxQL._SS500-e1519962847670.jpg\" alt=\"\" width=\"260\" height=\"260\" \/>Martin Wind gathers a coterie of distinguished colleagues and demonstrates why for two decades he has been a mainstay bassist in the US and Europe. In settings that range from a piece inspired by \u00e2\u20ac\u0153Sweet Georgia Brown\u00e2\u20ac\u009d to the edge of free jazz in \u00e2\u20ac\u0153Power Chords,\u00e2\u20ac\u009d Wind employs the energies and imaginations of drummers Matt Wilson and Duduka Da Fonseca, saxophonist Scott Robinson, trumpeter Ingrid Jensen, clarinetist Anat Cohen and pianists Gary Versace and Bill Cunliffe.<\/p>\n<p>He marshals his forces in combinations that employ textures as varied as those of Robinson\u00e2\u20ac\u2122s booming bass sax contrasted with the lilt of Cohen\u00e2\u20ac\u2122s clarinet and\u00e2\u20ac\u201din \u00e2\u20ac\u0153Rose\u00e2\u20ac\u009d\u00e2\u20ac\u201dan ensemble sound somehow bigger than the sum of its five instruments. Robinson\u00e2\u20ac\u2122s hybrid reed instrument the taragota and Versace\u00e2\u20ac\u2122s waves of organ chords have much to do with that. Da Fonseca is the drummer on half of the album\u00e2\u20ac\u2122s ten pieces, joined on the lively \u00e2\u20ac\u0153Seven Steps To Rio,\u00e2\u20ac\u009d \u00e2\u20ac\u0153De Norte A Sul,\u00e2\u20ac\u009d \u00e2\u20ac\u0153A Sad Story\u00e2\u20ac\u009d and \u00e2\u20ac\u0153Longing\u00e2\u20ac\u009d by his wife, the singer Maucha Audnet. Wind\u00e2\u20ac\u2122s arco solo and Audnet\u00e2\u20ac\u2122s aching vocal on \u00e2\u20ac\u0153A Sad Story\u00e2\u20ac\u009d\u00e2\u20ac\u201dwith intertwining commentary from Cohen\u00e2\u20ac\u2122s clarinet\u00e2\u20ac\u201dmake the track a highlight of the album. All of the compositions and arrangements are Wind\u00e2\u20ac\u2122s. He wrote \u00e2\u20ac\u0153A Genius and a Saint\u00e2\u20ac\u009d in memory of the late bassist Bob Bowen (1945-2010).<\/p>\n<p>There is more of the power of Da Fonseca\u00e2\u20ac\u2122s compelling and subtle drumming on his own <a href=\"http:\/\/amzn.to\/2FIFkH9\" target=\"_blank\" rel=\"noopener\">new album<\/a> of compositions by his influential fellow Brazilian Dom Salvador.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Martin Wind, Light Blue (Laika) Martin Wind gathers a coterie of distinguished colleagues and demonstrates why for two decades he has been a mainstay bassist in the US and Europe. In settings that range from a piece inspired by \u00e2\u20ac\u0153Sweet Georgia Brown\u00e2\u20ac\u009d to the edge of free jazz in \u00e2\u20ac\u0153Power Chords,\u00e2\u20ac\u009d Wind employs the energies [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":0,"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-9195","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry","8":"has-post-thumbnail"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9195","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=9195"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/9195\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=9195"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=9195"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=9195"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}