Flutology is a new sextet powered by three remarkable flute masters

Flutology is a new sextet powered by three remarkable flute masters, the most famous artist being Frank Wess. Wess brought a sparkling flute sound to Count Basie's 1953 big band, and here he emerges a half century later in a small group setting more bop-centered than swing-focused. With Holly Hofmann on C flute and Ali Ryerson on C and alto flute, Wess, on C and bass flute, establishes a profound empathy, a telepathic sounding communication that is thrilling, fresh, thoughtful. Pianist Mike Wofford grounds this ethereal trinity with smart arrangements and some sparse tasteful soloing, while the nearly self effacing rhythm section of bassist Peter Washington and drummer Ben Riley offer solid support while letting the flutes assume their proper place in the spotlight.

This well programmed and recorded studio set opens with an energetic workout on Charlie Parker's "Be Bop," a lovingly lyrical cover of Lee Morgan's "Ceora" with a shining solo by Hofmann, a perky cover of Hank Mobley's "This I Dig of You," plus a handful of Wess originals, including the aptly titled "Pretty Is." The distinct personalities of the flutists shine through since there's an overwhelming sense of non-competitiveness among the players, with each taking generous solos.

Also uniting them is a love of a warm and smooth tone rooted in classical flute. They connect to the Hubert Laws/James Newton camp, avoiding the highly vocalized flute tone established by Roland Kirk and Yusef Lateef. For far too many decades the flute, let alone the flute ensemble, has held a marginalized position in jazz. What Howard Johnson's band Gravity did to redeem the unjustly marginalized tuba, Flutology promises to do for the flute.

Even more significantly, I have rarely heard a band with a three musician front line in recent years with as many creative ideas that so seamlessly mesh. This is simply a major mainstream jazz album of 2003 by any standard, and the fact that it showcases flutes makes it that much more singular and breathtaking.

All Music Guide
Over the years, bop has had its share of summit sessions -- that is, sessions in which three or four people are playing the same instrument. Prestige was big on summits in the '50s; back then, the label's A&R department seemed to be especially fond of tenor sax, alto sax, and trumpet summits. But flute summits have been a rarity in bop, which has a lot to do with the fact that the flute hasn't been among jazz's more prominent wind instruments; in jazz, flutists have always been greatly outnumbered by trumpeters and saxophonists. A rare example of a flute summit, First Date finds three flutists -- Frank Wess, Holly Hofmann, and Ali Ryerson -- forming a front line and joining forces with a rhythm section that consists of pianist Mike Wofford, bassist Peter Washington, and drummer Ben Riley. There are no saxophones, trumpets, clarinets, or trombones in the Flutology sextet -- just the all-flute front line and a rhythm section -- and this yields enjoyable results on three Wess compositions as well as familiar standards like Thad Jones' "A Child Is Born" and Lee Morgan's "Ceora." Yes, some of the standards that Flutology embraces on this 2003 date have been beaten to death over the years, but how often have you heard three flutists tackling Charlie Parker's "Bebop" or Hank Mobley's "This I Dig of You" simultaneously and doing so without any help from sax or trumpet players? Besides, Flutology also unearths some worthwhile compositions that, as of 2003, hadn't become standards, including Don Grolnick's "Rainesville" and pianist Bill Cunliffe's "Flutopia." So one cannot accuse this sextet of having an "all-warhorses-all-the-time" policy when it comes to selecting material. One can, however, see the historic value of the three-flute front line that Flutology brings to the pleasing First Date. Alex Henderson