They hurl themselves into the music with an exuberance that is infectious.
Alan Skidmore tenor saxophone / Paul Dunmall tenor saxophone / Paul Rogers bass / Tony Levin drums
JIB-91-s-CD
Energy and drive are the defining features of this group. They hurl themselves into the music with an exuberance that is infectious.
It is fitting that on the one hundredth anniversary of John Coltrane’s birth that Jazz in Britain should produce “Tenor Tonic That’s Our Life”. Both Alan Skidmore and Paul Dunmall were heavily influenced by Coltrane. No Tenor Tonic album was produced when the group was prominent in 1985/86 so this is a first release.
Jazz in Britain has some important releases to its credit but probably none more important than this almost forgotten one. Unusually,the quartet had individuals of equal stature which makes the interplay fascinating. When the group broke up three of them formed Mujician with Keith Tippet. You can sense the beginning of that subsequent group during the playing.
The two tenor group was certainly poplar in the past: in the UK Tubby Hayes and Ronnie Scott and in the US Griff and Jaws (Johnny Griffin and Eddie Lockjaw Davis). Both groups worked to a formula and for a time were popular both using high energy solos and propulsive swing
In a way, Tenor Tonic was an avant-garde version of those earlier groups. Alan Skidmore came out of a hard bop background and that combined with a big masculine, hard edged, tone and a serious purpose gave him a power that was almost irresistible That combination made him one of the most complete British tenor voices: earthy without being crude adventurous without being abstract for its own sake.
Paul Dunmall has the ability to play at fast tempos without losing definition His work here and in other groups is defined by this relentless drive. He often seems to enter his improvisation with a clear idea of his destination. Dunmall has mastered the technique of circular breathing and he uses that to create a wall of c sound. He will take musical motifs and repeat them so that they become new ideas. Working creatively with an inventive drummer is part of Dunmall’s skill. If a drummer changes the intensity Dunmall will match that.
Above all, Paul Rogers values spontaneity, put that together with his love for the bass and you have a player who wants his playing to be orchestral. Rogers has never been a conventional player. He is not solely interested in supplying a rhythmic foundation, he is far more interested in exploring varied tonalities. His virtuosity is always part of his instinct to explore
Tony Levin’s breath of interest was wide. He was the complete drummer from work with Humphrey Lyttleton to Joe Harriott. He was valued because of his skills in mainstream as well as his innate sympathy with free jazz. He powered some of Tubby Hayes most crucial albums. His ability to move from gentle brush work to cracking crescendos was impressive. He suggested and shaped rather than dominated. His mastery of all aspects of jazz percussion gave an inspiring drive to the other three
The track that stands out because of its difference is “Lament”. Opening with a deep, impressionistic, forward looking carpet of sound under the tenors. It explored a sound world very different from the other tracks. It is a hint of unrealised possibilities.
As is usual from Jazz in Britain, there is a 16 page booklet explaining the life of the quartet. There are reminiscences from Bruce Coate who was the quartet’s appearance at the Pendley Manor INternation Festival and from Nick Lea of Jazz Views who was at an early appearance in Cardiff.
An album of this quality is surrounded with questions. Why did the quartet not record? Why did critics at the time not enthuse over the music? Were stylistic differences responsible for the split? Whatever the answer, now, some excellent high powered music is saved for posterity.
