1 Bridge to Nowhere
2 Time Travel
3 Law of Historical Memory
4 Beware of Doug
5 Little Feet
6 Garden State
7 The Pigeon and the Pie

Dave Douglas - Trumpet;
Jon Irabagon - Saxophone;
Matt Mitchell - Piano;
Linda Oh - Bass;
Rudy Royston - Drums.

Recorded & mixed by Joe Ferla April 15-th, 2012 at Avatar Studios NYC

Working with the same quintet that delivered his 2012 album Be Still, trumpeter Dave Douglas returns to a more straight-ahead, if no less adventurous, jazz style with 2013's Time Travel. Once again joining Douglas here are his bandmates saxophonist Jon Irabagon, pianist Matt Mitchell, bassist Linda Oh, and drummer Rudy Royston. Absent is vocalist Aoife O'Donovan, who was the focal point of Be Still's hymn, folk song, and ballads approach. Here, Douglas is interested in a more angular post-bop sound that, while still evincing a modern creative vibe, fits more squarely into the jazz tradition than Be Still. Which isn't to say this album is staid by any means. On the contrary, Douglas has penned a handful of harmonically challenging pieces that mix the knotty, rambunctious angularity of Thelonious Monk with the expansive impressionist modalism of '60s Miles Davis. The album also brings to mind the similarly inclined '80s work of Wynton Marsalis, like 1985's Black Codes (From the Underground) and 1986's J Mood. Cuts like the swinging midtempo opener "Bridge to Nowhere" and the ruminative, fractured title track showcase Douglas' group-oriented aesthetic that makes room for both extended solo improvisations and some layered, call-and-response interplay between the bandmembers. This group vibe is carried throughout the album on such tracks as the introspective ballad "Law of Historical Memory" and the roiling, hard-driving ode to Douglas' home state of New Jersey, "Garden State." Fans of Douglas' more country and folk song leanings will also be happy to find that he still digs his hands into the proverbial dirt with the bluesy Americana of "Beware of Doug" and the lullaby-sounding "Little Feet." While Douglas has made his mark delving into various genre-crossing projects that often skirt the edges of hardcore improvisatory jazz, with Time Travel he has found just as much room to explore within a world of jazz possibilities. ---Matt Collar, Rovi

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01 – Spirit Moves
02 – Rava
03 – Fats						play
04 – I’m So Lonesome I Could Cry
05 – United Front
06 – Bowie

Personnel:
Dave Douglas – trumpet, 
Vincent Chancey - French horn, 
Luis Bonilla – trombone, 
Marcus Rojas – tuba, 
Nasheet Waits – drums

The spirit of the old New Orleans marching band, in all its sturdy cheerfulness, dignity and melancholy, is revived on this delightful album. But it’s not just an exercise in nostalgia. The new numbers have a dissonant edge that’s entirely contemporary. And the four brass players, plus drummer Nasheen Waits, summon a variety of tone and texture that would have astonished those old-timers. ---Ivan Hewett, telegraph.co.uk

Brass bands, like wild animals are best viewed in their native habitats. Watching a lion on the savanna is a much different experience than seeing it caged in a zoo. Likewise, hearing Dave Douglas' Brass Ecstasy live is superior to any studio recording. Not that the band's Spirit Moves (Greenleaf, 2009) was a subpar Douglas recording; it's just that any band inspired by the trumpeter Lester Bowie and the New Orleans brass band tradition should be heard in public.

Recorded at the 2010 Newport Jazz Festival, United Front retains the original lineup of Brass Ecstasy, and the music sizzles from the nostalgic opener, "Spirit Moves," which acts as a processional, entering quietly as if the brass band was coming from down the street. Soon it's right there at the doorstep, and everyone is running to catch up with the parade.

This unique lineup matches the marching sounds of trumpet, tuba, and trombone with of Nasheet Waits' full drum kit, while Vincent Chancey's French horn balances the outside parade with the inside chamber, and does so nicely. Waits is more than a timekeeper, he's the turbo engine, with Chancey providing the polishing agent to the sound. On "Rava," a dedication to Italian trumpeter Enrico Rava, Douglas unfolds the tune with a soulful introduction, before delivering some musical acrobatics over the ever churning harmonies of Chancey and tubaist Marcus Rojas. Trombonist Luis Bonilla then solos over Waits' pulse, chasing some mystical demon.

The band plays all Douglas' originals, except for Hank Williams' "I'm So Lonesome I Could Cry," with Douglas' muted trumpet of Douglas a bit like 1957-era Miles Davis. When Rojas takes a solo, he blows his tuba by speaking/singing into his mouthpiece to the delight of the crowd. "Untied Front" crackles with energy, as does the closer, "Bowie," which mixes multiple styles into a tapestry of sound, skillfully woven into a party quilt. ---Mark Corroto, allaboutjazz.com

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