Reptet Reviewed by Bagatellen

[Johnny E]

Reptet - S/T

MCMC 2

Replicas of the Seattle-based Reptet exist across the globe. Small regional ensembles that tailor the jazz tradition to their own designs, but largely toil away in localized obscurity. Quartet in size, the band is actually an offshoot of the Monktail Creative Music Concern, a larger outfit that’s been generating quite a bit of buzz on the Northwest scene. Their core instrumentation here follows the standard reed plus rhythm concept of countless other groups, but they rise to the occasion of crafting something signature with their chosen tools. Various other instruments also aid in adding further diversity. Tenor saxophonist Tobi Stone doubles on flute. Pianist Stefan Nelson also tickles the keys on Fender Rhodes and melodica while leader/percussionist John Ewing incorporates bells and mini-conga as additional agents beside his drum kit. Holding down the anchor spot, Evan Flory-Barnes alternates between acoustic and electric bass. There’s also the guest musings of flugelhornist Ron Barrow on the Latinized opener “After Before.” Starting at a slow, reflective tempo, the tune repeatedly accelerates between solos. The band contrasts languor with vigor and in the process supplies welcome tension and depth.

Gil Melle’s “The Gears” and Misha Mengelberg’s “A Bit Nervous” reference the Reptet’s wide-ranging listening habits. On the former, Nelson’s Rhodes bobs with Flory-Barnes’ rubberized electric strings giving the classic composition from Blue Note’s nascent hardbop period an unexpectedly funked-up fusiony edge. Ewing’s martial backbeat also assists in keeping the groove fluid and fresh. The Mengelberg piece places focus on Nelson’s acoustic ivories in a staccato dance with Ewing’s brushed snare that later expands into a Horace Silver-worthy Cape Verdean vamp. Stone’s tenor assumes the lead on the airy ballad “Open to Morning,” tracing textured phrases with fluttering breaths against a throbbing bass backdrop. “The Sun Is Beautiful” mixes luminous Rhodes with a fleshy ostinato by Flory-Barnes and a steady rolling beat from Ewing. Stone blows lazily above, accentuating the relaxed tropical feel of the piece. The island vibe carries over into “Resigned to Evening” where bells and chimes bracket Stone’s mercurial flute. Nelson’s melodica, sounding uncannily like a bandoneon, makes an appearance on “Distant Distorted You” threading with Flory-Barnes’ arco underpinning to create a dirge-fueled tango that almost derails from a snail-paced tempo. An upbeat rundown of Monk’s “Introspection” serves as the third and final historical nod of the disc and another chance to hear Flory-Barnes’ flexible pizzicato in the foreground.

Whether the Reptet will roam far beyond its regional base of operations remains open to speculation. They fit comfortably within the parameters of a wide variety of jazz tastes, from thoughtful post bop, to playful fusion and funk, without wedding to a single style for too long. It’s latitude likely to resonate strongly with the average audience palate. If the desire to tour widely is there, this debut disc should be an effective implement in garnering gigs.

~ Derek Taylor

http://www.bagatellen.com/archives/reviews/000441.html

[Chuck Nessa]

Very nice review, and accurate. Another fine disc by a list member.

[ghost of miles]

Got this recently, Johnny, and will be featuring it sometime next month along with ALL MUSIC--another covert Organissimo board show! I'll post a link when I know the exact date; right now I'm leaning towards April 21.

[Johnny E]

Thanks Dave

[Johnny E]

By the way, the third Monktail Records release is by a trio named FLOSS. It hits the streets in early May.

http://monktail.com

Edited March 29, 2004 by Johnny E

[ghost of miles]

Have bumped the Reptet/Warne Marsh show to May 5 because of our spring fund-drive and will bump this thread up with a link the day before. (I'll probably throw in a track from Quartet Out's WELCOME TO THE PARTY as well.)