Colin Cannon

In Summary may seem like an odd title for Colin Cannon's debut recording and the beginning of a musical journey; but as the liner notes attest, this music is the result of his every positive and negative experience of the last five years. To make music any other way would be to leave part of himself out of the creative process, and what comes through is the personality of Cannon as guitarist and composer, which is perhaps his greatest achievement on this CD.

First impressions can be deceptive, and on the strength of "Berklee Cage" it might be concluded that Cannon is a fusion guitarist given to shredding. His guitar solo is indeed fairly wild, testing the limits of his instrument; but there's an unmistakable musicality within his playing, and above all in the heart of the composition. The lyricism and melody that permeate these songs, and Cannon's keen sense of harmony, recall on more than one occasion Pat Metheny. Shades of the Missouri guitarist are more keenly felt in Cannon's acoustic playing, which has a decidedly pastoral feel, as on the beautiful miniature "And Again."

Stylistically, the songs are diverse, ranging from the rip-roaring to the introspective and from the straight-ahead to more modern-influenced. The gently humming static pulse and nostalgic crackle of a stylus on old vinyl accompanies acoustic guitar on the atmospheric "For the Record," which fades away in a slightly Spanish mood. On "Clarity in the City," Cannon employs dreamy echo effects on this guitar-only composition. The use of echo on bass, piano and guitar is heard again on the lively "Truffaz," adding a kind of reverie to the music. That the same song contains a guitar solo that sounds like a fax machine gone berserk says something for Cannon's sense of juxtaposition—there is a boldness about these compositions.

Cannon is ably supported by his band members. Zak Croxall's spare, thoughtful bass contrasts with the speed and intensity of Cannon's more exuberant solos, as well as Tom Hartman's impressive and animated drumming. Whether on sticks or brushes, Hartman really earns his crust, coloring the music with pressed rolls, cymbal shots and little touches that add greatly to the music. Pianist Manami Morita, whether comping or venturing out, acts as a foil for Cannon in much the way that Lyle Mays does for Metheny. Morita's very pretty intro to "M.C.B." gives way to some lovely syncopated interplay with Cannon, and the two dovetail like birds at play on one of the most impressive pieces on the CD.

The title track sees Cannon's gentle six-string ruminations act like bookends on a melodic piece whose intensity grows slowly but surely. His solo winds its way impressively, gaining in power and exhibiting flashes of technical prowess; but this is one of his more restrained solos, and all the more impressive for it.

Colin Cannon is a fine guitarist and composer of some maturity and this highly satisfying debut suggests that more shall be heard of him in the future.



Track listing: The Berklee Cage; Dear Lydian; For the Record; The Slug; Clarity in the City; Truffaz; A Fading Cause; M.C.B.; And Again; In Summary.

Personnel: Colin Cannon: guitars; Manami Morita:piano; Zak Croxall:bass; Tom Hartman:drums. - All About Jazz

olin Cannon’s In Summary (2009) is proof there is fresh talent in the world of jazz music deserving of mainstream exposure. Often times more in the vain of Miles Davis’ In A Silent Way (1968) or Chick Corea’s Light as a Feather (1973) than some of the heavier fusion that exists, Cannon and his band have created a diversely beautiful album that will hopefully warrant them some serious exposure as we move forward into the new decade.

Cannon’s guitar wizardry will appeal even to listeners who fancy themselves more rock aficionados than jazz, particularly those who enjoy the work of David Gilmour. The down-tempo tracks, such as “For The Record” and “A Fading Cause,” give Cannon the opportunity to flex his muscles as he travels up and down the scales. Massive amounts of praise should also be heaped upon the backing band – if one could even call them that since this is a band that truly plays as one. Bassist Zak Croxall and drummer Tom Hartman (giving Ron Carter and Tony Williams a run for their money) hold it down with one of their tightest grooves on “Truffaz,” the rhythm section’s crowning achievement, before a particularly awe-inspiring freak-out from Cannon. Pianist Manami Morita, who is the heart and soul of this band, interplays beautifully with Cannon on album highlight “MCB,” in which Cannon trades in his electric guitar for an acoustic.

But the band tackles the more familiar, heavier aspects of fusion on the earlier moments of the album, and they do it in fine fashion. Listen to the band members count themselves in at the beginning of “Dear Lydian,” a personal favorite, where they sound more like a punk band than a jazz quartet, before firing on all cylinders. Or on the album opener, “The Berklee Cage,” where Cannon proves himself to be the heir to Jon McLaughlin’s throne as the Almight of Fusion Guitar.

In Summary sounds like a classic album by a group of seasoned veterans, but it’s not. And that’s what makes this album, and this group, so great. Instead, it’s an instant classic by a disciplined and energetic crop of young musicians who know their history. Seek out this album and Colin Cannon’s next live show…now.

- KNOCKS FROM THE UNDERGROUND

In Summary | Colin Cannon
onDisc
by: Scott Gudell

In Summary

Colin Cannon

In Summary is Colin Cannon’s debut recording. His sophisticated technique is rooted in the training that he received in his early teens under Steve Greene, right here in Rochester. It progressed further under Bob Sneider of The Eastman School of Music and at Berklee College of Music, with instruction from Tim Miller and Mick Goodrick.

Ignited by an intense storm of notes…accurate, precise and dead on…it’s a breathtaking announcement that guitarist Cannon is bursting through the gates with a flash. You’ve just heard “In The Berklee Cage” as this loosely autobiographical CD begins. He calms things down and catches his breath on “Dear Lydian,” a light, airy piece shared with pianist Manami Morita; and she sparkles as they converse back and forth on this and several other selections. “For The Record” is much more introspective and pensive as Cannon showcases his acoustic guitar. Things quickly swing back to a free flowing, open flurry of notes on “The Slug,” dominated by his electric guitar, but he remains more reflective here than on the opening cut.

The fast cuts are rapid…there is speed and accuracy as Cannon moves from chords to riffs to repeats and improv, often with hints of Al DiMeola. The quieter numbers are more reminiscent of the deep, dark tone poems that the revered European record label ECM has mastered (Terje Rypdal for example). In Summary is an album in the truest sense: ten snapshots that capture different moods, conversations, memories and speculations.
- FREETIME MAGAZINE (Rochester, NY)