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REVIEWS
November 1, 2008
 With Holding Back the Years, Saxophonist Norm Douglas
takes fans down memory lane with new interpretations
of some of the hottest songs of all time. A new tune
by Slava Tolstoy with Nate Brown on bass that is
destined for success on smooth jazz radio is the
up-tempo “Ocean Groove,” a catchy, radio
friendly song.
A regular on the California Disney
scene, Douglas has also opened Spyro Gyra and Eric
Marienthal. What is most unique about Douglas is
his ability to mix pop culture with familiar standards
of yesteryear. Douglas visits the past with a shimmering
rendition of “That’s All” from
the Great American Songbook. Yet, “How Deep
is Your Love,” previously written and recorded
by the Bee Gees, is given a jazzy treatment that
moves the music forward.
Connecting with the audience
in the live setting is important to Douglas and he
wanted to establish that same vibe in Holding Back
the Years by paying close attention to emotional
content of each song. The album kicks off with
the title track, “Holding Back the Years,” with
a romantic mood that is surrounded by a background
of guitar, trumpet and keys. Sting fans will enjoy
Douglas’ interpretation of “Fragile.” Douglas’ arrangement
of “Strawberry Moon,” originally recorded
by Grover Washington, Jr., pays earnest tribute to
the legendary Washington.
Things shift to a danceable “It’s
Too Late” in the fourth track with vocals by
Penny Watson and keyboards by Steve Crum. The music
slows down a bit with a smoky vibe that is reminiscent
of the nighttime jazz club scene with the Norah Jones
cover, “Don’t Know Why.” The Baby
Face tune, “Breathe Again,” is an interesting
interplay between vocals and saxophone melody.
Douglas’ ability
to interpret the emotional context of the songs is
further highlighted in his arrangement of the Luther
Vandross tune, “Dance with My Father.” However,
the melody reigns supreme with the original “I
Can’t Dance,” written by Nate Brown and
Jeff McCullough. Listen carefully and you will hear
both the sax and bass working together as one.
The
CD comes to old-school close with “Mercy, Mercy,
Mercy” with the dueling altos of Norm Douglas
and Paul Carman.
REVIEWS
Norm Douglas
By John Barrett Jr.(All
About Jazz)
The sound is simple but it is DEEP. You know the smooth
jazz cliches: limp-noodle tone, solos going nowhere
-you won't find them here. Norm Douglas has a pretty
sound, with an edge -light fuzz in his notes, a push
to his phrasing. These elements hint the old-time horns,
on songs full of contemporary spirit. His band is light
but effective, and no drippy sentimentality -his emotion
is real, and so is your enjoyment. If you've never heard
Douglas before, this is a good place to begin. After
all, they say the "First Time" is always the
best.
The tunes (most are by pianist Ron Kobayashi) come at
you stronger than your typical smooth fare. Like- wise
Norm: he charges on "Since Then", running
as the others float. His tenor is weighty, standing
bold on Kobayashi's chords. And now a transformation:
a soft groan, like the old balladeers. It all fits so
well (listen to Bob Hawkins, heard just a moment.) "Peace"
(not the Silver tune, but a gospel-tinged ballad) gets
a pipe organ and Norm a soprano. Staying in its middle
register he sounds reflective, with the sound of an
oboe. The backing has that easy touch of Memphis soul
(think of AI green) and Norm sits atop like a jewel.
Yes -it does sparkle.
"Fast Lane" is a downtown samba: bright percussion,
a piano of twinkling light. Douglas, on alto this time,
has the firm-but-gentle touch I loved on "Since
Then"; how it blends with the tune's airy breeze.
Kobayashi's turn is exotic; that goes double for the
cuicas in the background. Hawkins weaves a tapestry
on "First Time": tightly woven strings to
which Kobayashi adds color. The soprano comes in, higher
this time, minus the shrillness you often get. Ron has
a New Age feel in his tiny solo; it's his finest moment.
Norm takes to soaring, and near the end Hawkins makes
like a harp. This is fitting, as emotions are high.
"Yosemte" crackles with life: Norm's muscular
theme, and keys rolling like a stream. The tune is calm,
but isn't played that way: when Douglas hits those broad
notes, he's triumphant on a mountain top. 'Vast Blue
Sky", with a different band, tries the mood of
"Peace" with a slightly simpler tune. Brad
Cole whispers smoky and the alto. Quiet at first, comes
forward in a stately ascension -nothing fancy but everything
beautiful. Definitely "smooth", and definitely
atypical -call it music and be done with it.
"It's Just a Valentine" is a nice mix by Mick
Barton: country field vocal, elegant verse. "Take
every poem, every sonnet, every love song ever heard/
There isn't a chance I could put what I'm feeling into
words." Stronger than it seems, this grows on you,
and the sax is a ribbon on top. For further decoration,
look to "Tara's Song": dubbed saxes waltzing
with ease, and bells twinkling with magic. This belongs
in a music box, as does the album: solidly built, it's
a study in strong gentility. If you've a taste for sm:>oth,
give Norm a try: you'll "First Time", now
and the next time you hear it.
Songs: Since Then; Peace; I Can Do It; Fast lane;
First Time; Yosemte; Vast Blue Sky; It's Just a Valentine;
Left Turn Only; Tara's Song.
Musicians: Norm Douglas (soprano, alto, and tenor
saxes); Ron Kobayashi (keyboards); Bob Hawkins (guitar);
Baba Elefante (bass); Steve Dixon (drums); Kurt Rasmussen
(percussion), plus on various tracks: Matt Hocking (electric
guitar); Steve Wood (keyboards); Frank Cotinola (drums
on "It's Just a Valentine"); Mick Barton (vocals);
Tom MacFarlane (synthesizer); Phil Carillo (drums on
"Tara's Song"); Abraham Laboriel (bass); Greg
Bissonette (drums); Alex Acuna (percussion); Brad Cole
(organ).
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