Higher Ground

Myron Walden

"Higher Ground" was recorded somewhat off-the-cuff in Barcelona while Walden was on tour with David Weiss' Sextet, this session finds him working an almost impetuous vibe and there's plenty of intellect at work when Walden sculpts the architecture of his solos. The rambunctiousness used in his interactions with this new group - tenor saxophonist Marcus Strickland, bassist Brandon Owens, and drummer E.J. Strickland - is a great way for him to communicate from both the brain and the gut."

Tracklisting:

1. Solid
2. Page One
3. Slow And Ready
4. You Dig
5. Higher Ground
6. When Time Stood Still
7. High above The Clouds

Recorded in Barcelona, July 2001


Reviews:
"Another younger player that is getting a buzz amongst musicians these days of course is Myron's cohort here, the tenor player Marcus Strickland. Since this record, while under Walden's name, basically amounts to a co-billing of Walden and Strickland as featured soloists, it's appropriate to draw attention to Strickland for a moment. For those familiar with Strickland from either his work with Lonnie Plaxico or his debut recording (also on Fresh Sound) this is quite an interesting occasion to hear him play. It offers the opportunity to hear him in a more pared down, essential setting in which, also in lieu of many fast numbers here, his nuance as a soloist is shown in greater relief. He acquits himself very well in this setting, and it begs the question of him doing a trio record.

Hearing these two play against each other though is really the most fruitful thing of this recording. From the outset, they offer a unique contrast in style- Myron, an often-ecstatic, freely inventive soloist with a pointed tone v. Marcus- the more patient, steady improviser with a rather husky, mellow tone. It is perhaps a superficial comparison, but in some ways the contrast between these soloists on Alto and Tenor reminds of Eric Dolphy playing with John Coltrane. The influence of Trane is certainly apparent in Strickland's playing, in spite of the fact that he takes a more steady approach as a soloist. And it's clear that Walden has listened to some Eric Dolphy in his lifetime, in addition to what are probably healthy doses of Jackie McLean and Ornette Coleman. He has a sound that is far from derivative or merely the sum of its influences though, and this is why many are encouraged by his playing. Unlike a good number of neo-bop players out there, Walden actually does seem to have the mark of an original. This is a revelation that bears worth repeating when many question aloud whether there are any original voices anymore."
- Gerard Cox (www.allaboutjazz.com)

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