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What the Critics Say:
JAZZ TIMES -
Equinox has a unique sound with salsa-like elements - drummer plus congas, Latin figures and rhythms, a bright feeling. The pieces are more involved, harmonically and structurally, than salsa, and the group sound, which is held together by Pete Chauvette's vibes and marimba, is all its own. The two man percussion section is really excellent, the arrangements are first class, and Joe Jackson's trombone and the leader's tenor and soprano sound great together.
CADENCE MAGAZINE -
Oddly the album is divided into two distinct segments. The first five tunes rely heavily on the rhythm section, using a combination of South American, Cuban, and African rhythm patterns to
sustain the motion. They provide the stage for the soloists Englar and Jackson either to be stating the upbeat themes or improvising on them. Englar varies his playing by switching instruments regularly, Jackson is a good sound balance as the other horn, and Chauvette gets plenty of playing time as a soloist as well as an integral part of the beat.
The tunes in this segment, of which Englar wrote four, have more substance than those of a typical Latin music ensemble. This is mainly due to the improvising of Englar and Jackson, who have good chops and express their musical thoughts with vigor. The medley of two Ellington tunes gets the same 'want to dance' treatment. Englar is strong on tenor on
"Caravan" and just as strong on flute on "Virgin Jungle."
At this point, the program changes to a more North American Jazz mode.
"All Too True" finds the pace slowing for the first time. With Jackson sitting out, it features calming vibes and flute sounds and a bass solo in a drastic change of pace from the tempos of the previous tunes. Englar takes command on Coltrane's
"Equinox." He begins with an extended unaccompanied tenor solo before the group enters with its full bodied sound. When Jackson joins in, Equinox has the punch of a Jazz Crusaders' band. It really swings.
"Wind's Eye" starts and ends with a march beat, and some good soprano and trombone improvisations are provided in between. The program winds up with
"Ashokan FarewelI," a simple song line that has its roots in folk or early settler music.
Englar is attempting to show on this album, and in its title, that the world should not be divided into types. He claims there is only one world, one race, and one music.
He may be right.
LE JAZZ -
ALL ABOUT JAZZ - Rhythm plays a large part in the success of Englar's ensemble.
"Q.E.D." is a spicy Latin jazz number colored by congas and vibraphone; Englar's alto flute and Jackson's trombone weave the melodies. Soprano saxophone and trombone combine for a pleasant smooth sound on
"Like I Said," "Wind's Eye," and "After This." The title track is an exciting straight-ahead number with the leader's tenor sax and Jackson's trombone stretching out. Likewise, John Coltrane's "Equinox" matches the tenor saxophone with trombone and vibes, marching along to the familiar ballad. Tasteful solos from the front line, clear crisp drum rolls, and a loose walking bass mark the tune as well as the session.
The Ellington-Strayhorn collaboration "Virgin (Jungle)" is presented with
"Caravan" as a medley. Englar's tenor saxophone and Jackson's trombone spin the familiar Juan Tizol melody briefly before the leader tears into an improvisation. It's hot, and the excitement builds as they transition into
"Virgin," where Jackson rips off another improvised chorus; vibes and alto flute color seductively.
With an ear on the dynamic levels, a supportive rhythm team and a front line that wails, Equinox provides a well-rounded set. Englar's tenor saxophone is certainly in the John Coltrane tradition, in so far as his dedication and imagination show through. Highly Recommended.
MP3CRITIC.COM -
Take, for instance, "Q.E.D.," the third track on the album. It starts with the sort of solo bass that begins so many rock songs nowadays, and then moves into a landscape of softer horns and bouncy vibraphone beats you could almost dance to. Thing is, you don't want to dance to this record. You need to sit down and pay attention, or you'll miss something else. That's even more true of the final number,
"Ashokan Farewell," which starts off with a sweet string and flute section that recalls some of Mark Knopfler's solo material. The flute climbs and leaps into the air, it pleads for your attention.
This is what jazz is supposed to be about, musicians who can wander down a central path, exploring the branches as they please, and come together in the end. Clayton Englar and Equinox can do that. What else do you need?
Last updated: November 30, 2007 Englar's sextet Equinox puts out a lot of music on ("Last World"). He plays numerous instruments and is complemented by the bold trombone sounds of Jackson and a dynamic rhythm section. With drummner Johnson and percussionist Mojica along with vibist Chauvette, the sounds are powerful and moving. Add the heavy electric bass beat of Matthews and you have a music that makes it hard to sit still.
Saxophonist and flutist Clayton Englar's sextet is interesting in more than one respect. The musicians are all exceptional, especially trombonist Joe Jackson, a remarkable improviser. And Englar's compositions create an original climate, blending jazz and world music influences. Percussion is given pride of place throughout: with a drummer, percussionist and vibraphonist this good, the rhythms ignite.
(www.allaboutjazz.com)
Equinox is a modern mainstream sextet comprised of saxophonist Clayton Englar, vibraphonist Pete Chauvette, trombonist Joe Jackson, bassist Wade Matthews, drummer Roderick Johnson, and percussionist Alfredo Mojica. The electric bass emits a fuzzy bottom, yet it's dependable and on the mark. Similarly, both drummer and percussionist work to maintain a rhythmic foundation that balances the ensemble's output without becoming loud or too forceful. The improvisers and melody makers – trombone, vibraphone and saxophone – make up a front line that changes its sound as needed by swapping marimba for vibes and saxophone for flute. The final track brings interesting results by overdubbing a recorder with the soprano saxophone in a gentle folk-like lullaby.
Sophisticated jazz, baby! The debut album of Clayton Englar and Equinox, called
"Last World," is the sort of smart record that you can't listen to just once. Every time you go through it you can pick up something new, from the funk backbeat of the title track to the final
"Ashokan Farewell" with its flute rhythm. If jazz is your bag, this one's a winner.
Clayton Englar leads this six-man act on the saxophone, although he also plays the flute and even the recorder. He's backed by a band that includes two percussion players, Alfredo Mojica and Roderick Johnson, Pete Chauvette on vibraphones and Marimba, Wade Matthews on bass guitars, and the unlikely-named Joe Jackson on trombone. In case it's not already clear, these guys have a Latin jazz sound to certain numbers. Their medley of Duke Ellington's
"Caravan" and "Virgin Jungle" has all the smoke and darkened edges of a Mexican bar and all the energy of the type of jazz club where you don't get in unless you know somebody. Like all good jazz, the melody is there to be played with, and the individual musicians take it and run on practically every track on the album.
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Windmill Sax Quartet Sheet Music