Tynan, tp/flugelhorn; Tyler Summers, alto/sop. saxes; Matt Wigton, acoustic/electric basses; Stockton Helbing, drums/cymbals.
The day Ornette Coleman's band made a groundbreaking splash in New York the entire Jazz world took notice. True to his role as a soldier determined to shatter myth and tradition, Coleman and confederates, Cherry, Haden, Blackwell and Higgins were either roundly scoffed or summarily hailed.
Bottom line, Coleman's influence began immediately. They were nervy to the point of carving out their own legacy regardless of expected resistance. They 'seized' the moment - naysayers and cheerleaders on aligning both sides.
Coleman's repercussive magnitude is still being felt to this day. And newer, younger musicians like brass man Paul Tynan have acknowledged its intrinsic value. And while Coleman had direct descendants in Dewey Redman and the Roscoe Mitchell's of the jazz world, musicians with the commitment of Tynan make a strong case for linage inclusion.
With a facile command of his instrument Tynan is barely into his 20s. On flugelhorn Tynan possesses a rare regality akin to a Kenny Wheeler. A full throated, almost French horn/mellophone timbre. And his assemblage of originals is befitting stylistically. Instantly recognizable is the harmonious trumpet/sax interplay throughout. His horn mate Summers' rubbery, jaunting contrast makes them ideal partners.
All of the discs eight tunes are snappy. Tynan is no slouch with contributions from Summers and drummer Wigton. Given the material are quite up to task the humorous 'Plastic People' mirrors the antics of the Art Ensemble while the three part 'Change of Direction Suite nimbles down to contemporaneous territory without the shtick. Whatever you do, don't overlook this diamond in the rough.
by Lofton Emenari, III
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