Reviews....... “...the Kansas City trumpeter and composer nonetheless offers plenty of glimpses into the creative cogs of his musical mind on "...Better Late Than Never...”.

  “...ambitious debut ...”

 “Some cuts strike shadowy poses -- "bill, winter of '84" is an ethereal and haunting homage to his friend and former pupil McKemy. Others, such as "User Frenzy," cut to the quick with sharp riffs and tight melodies punctuated by Pointer's capable trumpet work. "...Better Late, Than Never..." finds an honest stride in the plaintive, simple moments of songs such as "Autumn Winds," in which he reminisces about life and loss.”

      Pitch Weekly  (John Kreicbergs)




The first track, "Malveaux in the Country," sounds like it's right off of the Miles Davis "Kind of Blue" playlist - understated, minimalist playing, but solid as a rock. Yeah, sure, you hear a trumpet with a harmon mute, most people automatically think of Miles. What's cool about this track is that you hear Miles' influence, rather than an out-and-out attempt to sound like him. Great track."

"This is definitely a great solo effort, with Pointer playing every instrument on the recording. "Three on a Match" is a great example of a duet-yourself chart, nice harmonies and a tasteful bass synth part tying it all together."

"The musicianship is great, the performance is great. The trumpet work and compositions are outstanding. This CD of all-original jazz from a local artist would be a great addition to your collection."

 "Best track? "Tirade of the River People."

 "Jaco lives."

 "Trust me on this."

     The "X"  (Chris Waage)




"...His diverse, eclectic interests and talents are exemplified by this initial trip into composition and recording. It is a very enjoyable and interesting recording!"
  
   CD Baby (Paul Copenhaver)







 with Perfumed Nightmare @ The Pistol Social Club
Posted 10.19.06 @ 09:59 PM | Permalink | Email Article Link

After recently watching Touch The Sound, a remarkable documentary about the deaf Grammy-winning classical percussionist Evelyn Glennie, I was eloquently reminded of the musical beauty of the sonic mundanity of our everyday existence.  The crassly commonplace -- traffic, street sounds, the din of a crowd -- all find a renewed sense of refinement when we consider them as the spontaneous and collaborative compositions that they are.

Collaboration, by design, can be noisy business, a characteristic of the creative process that jazz bassist and composer Bill McKemy counts on.  The live debut of his most recent project Perfumed Nightmare at the West Bottoms' Pistol Social Club this past Saturday evening was an exercise in both controlled and unbridled chaos.  Even by more traditional standards, the nine piece unit (consisting of four saxes, trumpet, trombone, bass, drums and sousaphone) is an unwieldy ensemble.  In the context of McKemy's free jazz, anything goes practice of conduction, it was an exciting cacophony of sound.

The evening's selections, performed in the spirit of the group's recent debut release Underpass, came off as strikingly more groove-oriented in a live setting.  Whether this was by design or more of an indication of the musicians divining what they believed the audience would respond to is difficult to determine.  Either way, the effect was a unique marriage of Mingus and Sun Ra with a markedly Kansas City flair. Meanwhile, the bohemian, sparsely furnished, speakeasy atmosphere of the Pistol brought the whole affair back to the heady days of jazz's art-on-the-fringe past.  

Believe it or not, the spirit of the Kansas City scene is alive and well.  Yet, as Perfumed Nightmare proved last Saturday, it doesn't always hang out at those posh joints that sell warmed over standards to tourists and traditionalists. No, sometimes you have to take more than just a few steps off the beaten path -- both physically and musically -- to find out that it still has a home in this town.

-- John Kreicbergs  (patchchord.com)

  (Special thanks to John for his support!)





with RIVER COW ORCHESTRA - “The Tyranny and Grace of Good Socks”


I played this one very often in the last few weeks. No problems in having this music filling our rooms like a perpetuum mobile. Listening to the River Cow Orchestra is enjoying the company of Brent Bowman (keyboards/sax), Greg Field (drums), C. Goff III (percussion, winds), Michael LaGrega (violin), John Lomas (guitar synthesizer), Allan McGinty (bass) and E.E. Pointer (trumpet). Only the name of Charles Goff III did ring a bell. He is a veteran of the independent music scene, running Taped Rug Productions since the 80s. The orchestra is specialized in long and open psychedelic improvisations. Making clear reference to the electric 70s work of Miles Davis. Especially in pieces like 'Chromatophore' where trumpeter Pointer does some of the solowork, the ghost of Miles Davis is very near. Most improvisations breath a relaxing and laid-back atmosphere. The music is grooving, but not in a funky, jazzy way, except for the first part of the last track 'Celebration of the Wind'. Surely this is not retromusic, reviving some pretended good old days. On the other hand, we are also not on the forefront of musical developments between these cows. But they do touch upon something. They create very open and wide structures and take time to develop things. This results in very captivating music that is never in a hurry and working very consequent to its goal. Their improvisations originate on stage or in the studio without much pretension. It's just there. They have at least one more CDR out, called ' Emerging'. But that is about all I know about their history. Kansas City, Missouri is their hometown and it is here that they do most of their live concerts. It is especially the strange and typical drumming by Greg Field that prevent these improvisations from becoming something we have heard many times before. He doesn't swing or funk or rock, but spreads out non-spectacular but binding patterns that work. (Dolf Mulder, Vital Weekly, Netherlands)

-Dolf Mulder, Vital Weekly, Netherlands
 
“These nine tracks fuse, swirl, and layer free jazz, pop, classical, funk, ambient, world, and bluegrass music throughout the compositions. Put that between two slices of wheat bread and you've got a heckuva sandwich.
 
The lead track, "Cavern Dance," has a club beat circa 1983 that conjures images of b-boys bustin' moves in parachute pants. Once the beat is laid down, a crazy dash of synth notes run in frenetic bursts and a brassy trumpet wedges into place. Club, free jazz, world rhythm flourishes - check, check, check. It's all there.
 
"Vignettes" is a meditative bird with its melancholy trumpet working its flight path around the deep thrum of a bass. A little over five minutes into the piece, a piano and ambient sounds wander into the mix like creepy B-movie characters that slowly smother the trumpet.
 
"Canine Logic" has a zippy beat and lofty organ sound, building a pedestal for the trumpet to tout its message to the heavens. Some nifty whistling, heavily processed, adds peppy character to the piece. Think extended version of an upbeat theme song to a high-concept sitcom.
 
Vignettes is an offering best consumed like a dense, rich chocolate cake with flavors of hazelnut, espresso, and Grand Marnier infused into various layers. Intake the whole thing quickly and you'll get a broad taste of what Pointer has produced with some satisfaction. Savoring each layer, each composition, for its immediate and nuanced flavors will extend the experience.”
 
Present Magazine (Pete Dulin)
 
 
“........the sweet soul of Lee Morgan, the cool of Chet Baker, the technique of Freddie Hubbard, and the creativity of Don Ellis......”
 
Brent Bowman ( River Cow Orchestra)