{"id":3268,"date":"2014-01-01T22:21:10","date_gmt":"2014-01-01T22:21:10","guid":{"rendered":"http:\/\/jazzusa.com\/tim-odell-before-my-life\/"},"modified":"2011-01-01T22:21:10","modified_gmt":"2011-01-01T22:21:10","slug":"tim-odell-before-my-life","status":"publish","type":"post","link":"https:\/\/jazzusa.com\/?p=3268","title":{"rendered":"Tim O&#8217;Dell &#8211; Before My Life"},"content":{"rendered":"<p align=\"Right\">  <img decoding=\"async\" src=\"https:\/\/jazzusa.com\/storypix\/beforemylife.jpg\" alt=\"Before My Life\" align=\"Right\" hspace=\"8\" vspace=\"2\"\/><font size=\"2\" color=\"Blue\" face=\"Verdana\">Before My Life<\/font><br \/><font size=\"4\" style=\"font-face:verdana; font-size:14pt\" color=\"Blue\" face=\"Verdana, Helvetica\">  Tim O&#8217;Dell<br \/><\/font>  <font face=\"Verdana, Helvetica\" color=\"#000000\" size=\"1\">   (Southport &#8211; 2001)<br \/> by John Barrett  <\/font><\/p>\n<p><font face=\"Verdana\" size=\"2\">  This nervy group has much in common with Henry Threadgil: restless   compositions, lots of percussion, and deep rhythmic brass(Ryan Shultz&#8217; bass   trumpet, which sounds like a tuba at times.)  &#8220;Id&#8221; has a split personality:   Shultz duels with Tim O&#8217;Dell&#8217;s soprano, then both fade to the background.  In   their place is a guitar (Steve Grismore)whose cool tone is grainy on the   edges. Shultz whoops, trombone-like, through his solo; Tim starts   peaceful before rust grows on his horn.  This leads to &#8220;Before My Life&#8221;, where   all is peace \u0096 meditating on alto, Tim sounds like Trane did on &#8220;Central Park   West&#8221;. (Shultz is subdued, his effort a low-level hum.)  As the guitar gains   strength, you expect a storm to break out; this never happens, which makes it   seem more peaceful.      &#8220;The Fire Ants&#8221; scamper: Tatsu Aoki strums a bad bass and the two drummers   chase each other. Ryan has a nice solo but the focus is Aoki, whose effort   clicks like clockwork.  The same applies to &#8220;Mr.Aoki&#8221;, whose namesake walks   down a funky street.  Marking time in metallic chords, Grismore sounds like a   Fender Rhodes; Tim runs through a maze with his worried soprano.  While his   steps are measured, Steve&#8217;s are all over \u0096 his solo starts on a slow whine,   then he raves like a rock star.  The roles reverse on &#8220;Free by twelve&#8221;: over   Grismore&#8217;s calm strum, an alto snarls.  With each turn Tim&#8217;s phrases get   longer and grittier \u0096 Shultz rises like a mad parent, with a stern   fanfare. The storm then ends, but the feeling remains.     Alone on &#8220;Angel and the Boys&#8221;, Tim plays it sweet;the theme combines hope   with anxiety. The most straightforward of his tunes, I&#8217;d call it the   most memorable.  Shultz gently groans on&#8221;Ship&#8217;s Wake&#8221;, through a wave of   cymbals. Tim sounds like an oboe; Grismore is nice and watery.  And for   &#8220;Jackslap&#8221;, everyone is in the act.  The drummers go berserk, Shultz drawls a   trombone-like bit, and Grismore riffs like an organ.  Here&#8217;s where O&#8217;Dell   takes off: he bleats the blues, in the tone of a dirty clarinet \u0096 and then he   blares, a sound of the rainy night.  Whether you like structure or emotion,   there&#8217;s something here for you.   <\/font>\t  <\/p>\n<p>          <?php require($DOCUMENT_ROOT . \"_footer.htm\");   ??><\/body><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Before My Life Tim O&#8217;Dell (Southport &#8211; 2001) by John<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[],"tags":[],"class_list":["post-3268","post","type-post","status-publish","format-standard","hentry"],"_links":{"self":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3268","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=3268"}],"version-history":[{"count":0,"href":"https:\/\/jazzusa.com\/index.php?rest_route=\/wp\/v2\/posts\/3268\/revisions"}],"wp:attachment":[{"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=3268"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=3268"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/jazzusa.com\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=3268"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}