"At first, I wondered if (being here) would inhibit my career, but it hasn't at all. "There's a higher level of civility per capita here than in major metropolitan areas," said Mantooth. He's been here ever since, and entertains no thoughts of leaving soon.
Mantooth, in large part due to a fateful blind date in March of 1996, eventually found the Garden City groove to his liking, and elected to stay when his GCCC residency ended in May of that year. It wasn't what I was used to," said Mantooth (who, as a schoolboy in Tulsa, Okla., would sneak into the Blue Moon club with friend Dave Teegarden, later the drummer for Bob Seger's Silver Bullet Band, to catch live jazz). "When I drove down Kansas Avenue for the first time, I wondered what kind of trouble I could get into here. Mantooth, accustomed to the hurly-burly of a big city, also was concerned about adjusting to a slower everyday pace. "When I stopped in Dodge City, and was told I still had 50 miles to go, I couldn't believe it." "I thought I'd never get here," he recalled recently from his office in the GCCC piano lab. In fact, it was during his initial drive to southwest Kansas, ostensibly, for a five-month artist-in-residency program at Garden City Community College, that Mantooth discovered his timing was off. Sunday at Clifford Hope Auditorium.)Īpplying those disciplines to a change in lifestyle, however, required some effort when he first arrived in Garden City from Chicago in the winter of 1996. (He'll demonstrate that ability during a concert, "Frank Mantooth and Friends," 7:30 p.m. The Garden City Telegram March 1, 1999, Pages A1-A2įrank Mantooth knows about timing and tempo.Īn internationally acclaimed pianist, composer and arranger and nine-time Grammy nominee, Mantooth is a proven master at both when it comes to music. A welcome addition, but on the evidence of the rest of Garden City Eyebrow's perfectly capable of creating fascinating music without outside assistance.Frank Mantooth In The News Area hit right note with Mantooth By Allen Twitchell, News Editor Barr's contributions add depth to the music but he's relatively unobtrusive, eschewing solos in favor of absorption into the overall shape of each tune. Jim Barr, another Get The Blessing member, fills up the duo's sound with baritone guitar (on the brooding "Blind Summit") and bass guitar and pedals (on the only-slightly-less-brooding "Scrim").
#Garden city jazz free#
The exception to the acoustic-plus-electronic rule is "Lustre." It opens with Wigens' drums then Judge enters with a muted trumpet phrase reminiscent of Miles Davis playing "Summertime." Free of electronics, this brief tune represents the duo at its most affecting-the tune grabs the attention from the off and retains it until the final note. Over the top of Wigens' percussion Judge sets up a haunting electronic wash of sound while his trumpet, at first sedate and melancholy, slowly builds in intensity and strength. This is most obvious on the album's centerpiece, the lengthy "Thaw." Wigens' drumming is the driving forcecontrolled yet tense, threatening to explode but refraining from making good on that threat. While Judge's trumpet and Wigens' drums are at Eyebrow's acoustic heart, it's Judge's electronics that give the music much of its atmosphere. As Eyebrow, the pair have developed a signature sound that mixes acoustic instruments with electronics to create strongly atmospheric, often ambient, soundscapes. The pair have extensive experience in jazz, punk and folk musicJudge is a member of Bristol jazzers Get The Blessing and has played with Noel Gallagher, Jim Moray and Super Furry Animals: Wigens has worked with Gary Lucas, Damo Suzuki and Natacha Atlas. Pete Judge and Paul Wigens formed Eyebrow in 2009. Mention the idea of the "garden city" to the good people of Britain and the likeliest (polite) response will be "Welwyn" or perhaps "Letchworth." Bristol, home to Eyebrow, isn't such a settlement but Garden City is the name the duo has given to its fourth album release.
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