“Because this came as such a sweet end-of-year surprise. It almost didn’t make the list; I learned about it second-hand and listened at the last possible minute. (It wasn’t officially available until December 14. The CD release is set for January 5 at Icehouse.) So glad I did, because it’s a beauty. O’Brien on bass, Nathan Hanson on saxophones and Davu Seru on drums play eight of O’Brien’s original compositions. This is music of seeking and finding, pensiveness, tenderness, and a spirituality reminiscent of Charles Lloyd. Even when the tempo speeds up, it takes its time.”
Pamela Espeland – Bebopified
Given his background and recent projects, as well as his cohorts on the new recording, it’s reasonable to expect the unexpected on Ghost Dance. Overall, the mood and collaborative interactions suggest ECM has set up a Minnesota outlet; the all-original music (written by O’Brien) flows like a series of incantations. The Gods must be pleased.
“Sawai” provides a brief opening with just bass and drums, as if an introduction to a dance suite. Even in the short span, Casey conjures guitar and bass with two distinct lines, perhaps using a looper. Nathan Hanson adds soprano sax to “Dayton,” melodically wandering but not aimlessly, rather truly exploring the terrain, which is largely gentle with some valleys created by O’Brien’s bass lines. “Ghost Dance Part 1” (separated from Part 2 by several tracks) is marked by a constant, bubbly bass vamp and alternating clicks and clangs from Seru. The composition is like an African folk dance; Hanson (on soprano) is a talented storyteller creating multiple voices, O’Brien unwavering, Seru the energy source. “Part Two” has a similar yet distinctive bass vamp covering a wider range of tones, creating a more ominous feel, a more urgent storyline with more assertive percussion. Hanson’s adventure kicks up more sonic (cosmic?) dust as if climbing a mountain, reaching a point where the Gods are closer, only to stop in awe, falling somewhere between Coltrane and Lloyd.
“2 Bells” is simply beautiful . Hanson (on tenor and maybe more) suggests Chris Potter’s most recent work. O’Brien’s solo creates bell tones against the gentle slapping of Seru’s brushes. A dark energetic bass introduces “Mpls,” with soprano sax singing atop what becomes a vamping bass in cahoots with the gentle tapdancing of drums. The energy gradually builds, O’Brien taking over as rhythmic storyteller in multiple voices, closing with Hanson’s final prayer. “So” finds Hanson back on tenor, with more acrobatic lines from O’Brien, and you can visualize the elastic movements from Seru. The closing “Polyhistor” benefits from a steady bass and varied percussion effects over Hanson’s tenor. It’s a relatively lively work that feels like a spontaneous improvisation among three kindred spirits
https://i0.wp.com/caseyobrienmusic.com/wp-content/uploads/2016/03/JazzPolice-1.png?fit=400%2C400&ssl=1400400Caseyhttps://caseyobrienmusic.com/wp-content/uploads/2016/01/new_plain-1-300x100.pngCasey2014-12-23 12:24:272024-06-14 23:20:32Picks / Jazz Police / Andrea Canter
The Casey O’Brien Trio Series will feature unique combinations of talented improvisers, performing original music and interesting standards every Thursday in July at the Red Stag.
https://i0.wp.com/caseyobrienmusic.com/wp-content/uploads/2013/06/KCOBTrioJuly.jpg?fit=990%2C400&ssl=1400990Caseyhttps://caseyobrienmusic.com/wp-content/uploads/2016/01/new_plain-1-300x100.pngCasey2013-07-18 13:12:162024-06-03 19:46:14CASEY O’BRIEN TRIO SERIES | JULY 2013
Monthly Mixtape 06.2024January 24, 2025 - 9:19 am
Monthly Mixtape 05.2024June 4, 2024 - 3:07 am
Monthly Mixtape 04.2024April 30, 2024 - 11:40 pm
Our Two Cents / Bebopified / Pamela Espeland
Pamela Espeland – Bebopified
Picks / Jazz Police / Andrea Canter
Casey O’Brien // Ghost Dance
Given his background and recent projects, as well as his cohorts on the new recording, it’s reasonable to expect the unexpected on Ghost Dance. Overall, the mood and collaborative interactions suggest ECM has set up a Minnesota outlet; the all-original music (written by O’Brien) flows like a series of incantations. The Gods must be pleased.
“Sawai” provides a brief opening with just bass and drums, as if an introduction to a dance suite. Even in the short span, Casey conjures guitar and bass with two distinct lines, perhaps using a looper. Nathan Hanson adds soprano sax to “Dayton,” melodically wandering but not aimlessly, rather truly exploring the terrain, which is largely gentle with some valleys created by O’Brien’s bass lines. “Ghost Dance Part 1” (separated from Part 2 by several tracks) is marked by a constant, bubbly bass vamp and alternating clicks and clangs from Seru. The composition is like an African folk dance; Hanson (on soprano) is a talented storyteller creating multiple voices, O’Brien unwavering, Seru the energy source. “Part Two” has a similar yet distinctive bass vamp covering a wider range of tones, creating a more ominous feel, a more urgent storyline with more assertive percussion. Hanson’s adventure kicks up more sonic (cosmic?) dust as if climbing a mountain, reaching a point where the Gods are closer, only to stop in awe, falling somewhere between Coltrane and Lloyd.
“2 Bells” is simply beautiful . Hanson (on tenor and maybe more) suggests Chris Potter’s most recent work. O’Brien’s solo creates bell tones against the gentle slapping of Seru’s brushes. A dark energetic bass introduces “Mpls,” with soprano sax singing atop what becomes a vamping bass in cahoots with the gentle tapdancing of drums. The energy gradually builds, O’Brien taking over as rhythmic storyteller in multiple voices, closing with Hanson’s final prayer. “So” finds Hanson back on tenor, with more acrobatic lines from O’Brien, and you can visualize the elastic movements from Seru. The closing “Polyhistor” benefits from a steady bass and varied percussion effects over Hanson’s tenor. It’s a relatively lively work that feels like a spontaneous improvisation among three kindred spirits
Andrea Canter – Jazz Police
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CASEY O’BRIEN TRIO SERIES | JULY 2013
The Casey O’Brien Trio Series will feature unique combinations of talented improvisers, performing original music and interesting standards every Thursday in July at the Red Stag.
Thursday July 11.
Park Evans | Guitar
Pete Hennig | Drums
Casey O’Brien | Bass
Thursday July 18.
Ted Godbout | Piano
Greg Shutte | Drums
Casey O’Brien | Bass
Thursday July 25.
Ted Godbout | Piano
JT Bates | Drums
Casey O’Brien | Bass