Big Neighborhood

Neighbors

origin 82444

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MUSIC REVIEW BY Frank Rubilino, Cadence

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White's guitar and Fagan's alto saxophone sing out with harmonious clarity on (2). Pushed by bassist Miller and drummer Parisot, the two forward
soloists of the Big Neighborhood quartet start with unison statements that spring into more adventurous territory only to return again to music that moves at an easy gait. Melodic chords ring out joyously from White's guitar; he takes an advanced position and then changes the tempo to glide into music with swinging characteristics. Fagan counters with soaring improvisations; he transports his alto to high tonal altitudes while spewing out impressive solos. The defining sound of the band, however, comes from the interactivity of White and Fagan. They cajole, toy, and bounce sounds off each other as a starting point for the next sojourn where either one is likely to take the reins and make the music gel.

Except for one Antonio Carlos Jobim tune, all the music was penned by either White or Miller. The bassist's tunes are built on a solid foundation
that he lays down as entry points for White and Fagan. There is freedom built into all the music, which frequently shifts gears and direction midtune
to maintain an off-balanced posture. A pleasing aspect of this approach is the accompanying vibrations that support the soloist. For example, while Fagan is flying high, White supplements the action with intricate picking or rhythmic additives. White also uses a guitar synthesizer, but most of his output is not augmented and reflects clean and vibrant tonality. Throughout, Parisot imposes a muted beat or a heavy barrage to fit the shifting scenario. His complex message on "Manic" is indicative of his advanced sense of time. Big Neighborhood integrates composition, improvisation, and ensemble interplay in a polished, professional manner. The group cooks.






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