Born in Florida and based in New York, Michael Thomas is a versatile alto saxophonist/bass clarinetist who studied with Jerry Bergonzi, George Garzone and Miguel Zenón. He takes all those influences and more into his new album, Natural Habitat, whose lineup includes pianist/keyboardist Julian Shore, bassist Hans Glawischnig, and drummer Johnathan Blake.
The true-to-name album reveals deep connections to the cities of Boston and New York, a point that also transpires on “Two Cities”, a grounded and yet deliciously far-reaching piece that flows with an additive meter signature (5+5+5+6). Triumphant tenor melodies slide through the tapestry formed by Shore’s chord structure and the compelling rhythmic drive of Glawischnig and Blake. This is the most powerful piece on the record.
If the ballad “Fourth” and the lengthened “Harbor” didn’t really impress me with their acoustic warmth, then the true simmer and boil of Thomas’ composing come to the fore with titles such as “Demise”, another challenging preparation highlighted by nifty improvisations from Rhodes and bass clarinet; and “Float”, an intricate post-bop excursion where dancing bass lines and responsive drumming help shaping passages in 7/4 and 5/4. On the latter piece, the theme is revived halfway, sandwiched between the piano and alto statements.
With the bass clarinet at the helm of the melody, “Different Times” relies on rich harmonic movements to create a diaphanous waltz propelled by scrupulous bass lines and sensitive brushwork. What we have here diverges from the longitudinal perspective offered in the title cut, a straight 4/4 swinging blowout carried out with dynamic interplay. The richly contoured soloing from Thomas and Blake becomes the main attraction on this one.
Buyers of the CD have access to a downloadable bonus track called “For Now”. Pity that Thomas’ outspoken solo is cut short exactly when reaching a climax. Creative spark can be found in an album that gets better and better as it progresses.
https://jazztrail.net/blog/michael-thomas-natural-habitat-album-review
Impressive and fresh post bop sounds are delivered by Michael Thomas, playing both alto sax and bass clarinet with his ensemble of Julian Shore/p-key, Hans Glawishnig/b and Johnathan Blake/dr on an album of originals. His tone is warm and calming, working well on the upbeat “Float” and gliding over Blake’s cadence on “First” while gentle and delicate over Glawishnig’s bass on “Fourth.” On bass clarinet, the dreamy “Different Time” has a palpable texture, while there’s a fusiony feel with Shore’s keyboards on the moody “Demise”. Classical ivories give sparkling support for Thomas’ alto on “No Words” and the team simmers on the swinging “Two Cities”. Impressive modernity.
https://www.jazzweekly.com/2021/04/michael-thomas-natural-habitat/
Developing as an artist requires an incredible amount of study and hard work honing skills. During this process, the burgeoning artist will naturally begin to find areas in which he or she feels more comfortable, their comfort zone. This concept reaches beyond a physical location. It can also apply to material and communal elements in the creation of art.
Saxophonist/bass clarinetist/composer Michael Thomas seems to have found his musical domain once he settled in New York City. His new recording, Natural Habitat, illustrates how his path to the City has placed him in a perfect spot, both physically and mentally, to create the best art that he can.
Originally from Florida, Thomas grew up playing classical saxophone and picking up clarinet and flute as doubling instruments in high school. He pursued music as an undergrad at the University of Miami and then went to Boston to get his masters at the New England Conservatory. His three years in Boston would be the most important years in the young reedist’s development. The inspiring tutorship of saxophone legends George Garzone and Jerry Bergonzi and the sweeping breadth of Miguel Zenón’s lessons... more
credits
released March 26, 2021
bandcamp.com
The true-to-name album reveals deep connections to the cities of Boston and New York, a point that also transpires on “Two Cities”, a grounded and yet deliciously far-reaching piece that flows with an additive meter signature (5+5+5+6). Triumphant tenor melodies slide through the tapestry formed by Shore’s chord structure and the compelling rhythmic drive of Glawischnig and Blake. This is the most powerful piece on the record.
If the ballad “Fourth” and the lengthened “Harbor” didn’t really impress me with their acoustic warmth, then the true simmer and boil of Thomas’ composing come to the fore with titles such as “Demise”, another challenging preparation highlighted by nifty improvisations from Rhodes and bass clarinet; and “Float”, an intricate post-bop excursion where dancing bass lines and responsive drumming help shaping passages in 7/4 and 5/4. On the latter piece, the theme is revived halfway, sandwiched between the piano and alto statements.
With the bass clarinet at the helm of the melody, “Different Times” relies on rich harmonic movements to create a diaphanous waltz propelled by scrupulous bass lines and sensitive brushwork. What we have here diverges from the longitudinal perspective offered in the title cut, a straight 4/4 swinging blowout carried out with dynamic interplay. The richly contoured soloing from Thomas and Blake becomes the main attraction on this one.
Buyers of the CD have access to a downloadable bonus track called “For Now”. Pity that Thomas’ outspoken solo is cut short exactly when reaching a climax. Creative spark can be found in an album that gets better and better as it progresses.
https://jazztrail.net/blog/michael-thomas-natural-habitat-album-review
Impressive and fresh post bop sounds are delivered by Michael Thomas, playing both alto sax and bass clarinet with his ensemble of Julian Shore/p-key, Hans Glawishnig/b and Johnathan Blake/dr on an album of originals. His tone is warm and calming, working well on the upbeat “Float” and gliding over Blake’s cadence on “First” while gentle and delicate over Glawishnig’s bass on “Fourth.” On bass clarinet, the dreamy “Different Time” has a palpable texture, while there’s a fusiony feel with Shore’s keyboards on the moody “Demise”. Classical ivories give sparkling support for Thomas’ alto on “No Words” and the team simmers on the swinging “Two Cities”. Impressive modernity.
https://www.jazzweekly.com/2021/04/michael-thomas-natural-habitat/
Developing as an artist requires an incredible amount of study and hard work honing skills. During this process, the burgeoning artist will naturally begin to find areas in which he or she feels more comfortable, their comfort zone. This concept reaches beyond a physical location. It can also apply to material and communal elements in the creation of art.
Saxophonist/bass clarinetist/composer Michael Thomas seems to have found his musical domain once he settled in New York City. His new recording, Natural Habitat, illustrates how his path to the City has placed him in a perfect spot, both physically and mentally, to create the best art that he can.
Originally from Florida, Thomas grew up playing classical saxophone and picking up clarinet and flute as doubling instruments in high school. He pursued music as an undergrad at the University of Miami and then went to Boston to get his masters at the New England Conservatory. His three years in Boston would be the most important years in the young reedist’s development. The inspiring tutorship of saxophone legends George Garzone and Jerry Bergonzi and the sweeping breadth of Miguel Zenón’s lessons... more
credits
released March 26, 2021
bandcamp.com
///////
Nacido en Florida y afincado en Nueva York, Michael Thomas es un versátil saxofonista alto y clarinetista bajo que estudió con Jerry Bergonzi, George Garzone y Miguel Zenón. Lleva todas esas influencias y más en su nuevo álbum, Natural Habitat, cuya formación incluye al pianista/tecladista Julian Shore, al bajista Hans Glawischnig y al baterista Johnathan Blake.
El álbum, fiel a su nombre, revela profundas conexiones con las ciudades de Boston y Nueva York, algo que también se trasluce en "Two Cities", una pieza aterrizada y a la vez deliciosamente lejana que fluye con una firma métrica aditiva (5+5+5+6). Triunfantes melodías de tenor se deslizan por el tapiz formado por la estructura de acordes de Shore y el convincente impulso rítmico de Glawischnig y Blake. Esta es la pieza más potente del disco.
Si la balada "Fourth" y la alargada "Harbor" no me impresionaron realmente por su calidez acústica, entonces el verdadero hervor de la composición de Thomas sale a relucir con títulos como "Demise", otra desafiante preparación resaltada por ingeniosas improvisaciones de Rhodes y clarinete bajo; y "Float", una intrincada excursión post-bop en la que las líneas de bajo danzantes y la sensible batería ayudan a dar forma a pasajes en 7/4 y 5/4. En esta última pieza, el tema reaparece a mitad de camino, entre las declaraciones del piano y del alto.
Con el clarinete bajo a la cabeza de la melodía, "Different Times" se basa en ricos movimientos armónicos para crear un vals diáfano impulsado por escrupulosas líneas de bajo y sensibles pinceladas. Lo que tenemos aquí diverge de la perspectiva longitudinal ofrecida en el corte que da título al disco, una explosión de balanceo en 4/4 llevada a cabo con un juego dinámico. Los solos de Thomas y Blake, ricamente perfilados, se convierten en la principal atracción de este tema.
Los compradores del CD tienen acceso a un tema extra descargable llamado "For Now". Es una lástima que el solo de Thomas se interrumpa justo cuando alcanza el clímax. La chispa creativa se encuentra en un álbum que mejora a medida que avanza.
https://jazztrail.net/blog/michael-thomas-natural-habitat-album-review
Michael Thomas, que toca el saxo alto y el clarinete bajo con su conjunto formado por Julian Shore/p-key, Hans Glawishnig/b y Johnathan Blake/dr en un álbum de originales, ofrece unos sonidos post-bop impresionantes y frescos. Su tono es cálido y calmado, funcionando bien en la alegre "Float" y deslizándose sobre la cadencia de Blake en "First", mientras que es suave y delicado sobre el bajo de Glawishnig en "Fourth". En el clarinete bajo, la ensoñadora "Different Time" tiene una textura palpable, mientras que hay una sensación de fusión con los teclados de Shore en la temperamental "Demise". Los marfiles clásicos dan un apoyo chispeante al contralto de Thomas en "No Words" y el equipo se pone a fuego lento en la oscilante "Two Cities". Una modernidad impresionante.
https://www.jazzweekly.com/2021/04/michael-thomas-natural-habitat/
Desarrollarse como artista requiere una increíble cantidad de estudio y trabajo duro para perfeccionar las habilidades. Durante este proceso, el artista en ciernes empezará a encontrar de forma natural las áreas en las que se siente más cómodo, su zona de confort. Este concepto va más allá de un lugar físico. También puede aplicarse a los elementos materiales y comunitarios de la creación artística.
El saxofonista, clarinetista y compositor Michael Thomas parece haber encontrado su dominio musical cuando se instaló en Nueva York. Su nueva grabación, Natural Habitat, ilustra cómo su camino hacia la ciudad le ha colocado en un lugar perfecto, tanto física como mentalmente, para crear el mejor arte que pueda.
Originario de Florida, Thomas creció tocando el saxofón clásico y aprendiendo a tocar el clarinete y la flauta como instrumentos dobles en el instituto. Se dedicó a la música en la Universidad de Miami y luego se fue a Boston para hacer un máster en el Conservatorio de Nueva Inglaterra. Sus tres años en Boston serían los más importantes en el desarrollo del joven reedista. La inspiradora tutoría de las leyendas del saxofón George Garzone y Jerry Bergonzi y la amplitud de las lecciones de Miguel Zenón... más
créditos
publicado el 26 de marzo de 2021
bandcamp.com
www.michaelthomasjazz.com ...
www.sunnysiderecords.com ...
1 - Float 07:33
2 - Different Time 05:40
3 - First 06:03
4 - Natural Habitat 06:12
5 - Harbor 08:06
6 - Fourth 05:59
7 - Demise 05:51
8 - No Words 05:56
9 - Two Cities 07:34
Credits:
Michael Thomas - alto saxophone & bass clarinet
Julian Shore - piano, Rhodes & synth
Hans Glawischnig - bass
Johnathan Blake - drums
released March 26, 2021
https://www.sunnysiderecords.com/
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