"...I love playing bass. I love holding shit down. But I also love having the ability to step out and know when something needs to be proactive. You basically have four concentric circles, so you have reactive, proactive, fundamental or functionality, and then you also have independent thought. And different bass players do different things."
Learning how to engage in meaningful conversations both on and off the bandstand with musicians of numerous stylistic leanings has catapulted Revis to the highest echelon of jazz bassists....“It’s not about being a jack of all trades. But if you aspire to get to the essence of what all this music is, you can dance in any room.”
I do work in a creative fashion every day in hopes of the miraculous gracing me with her presence. But, that bitch is finicky. Life is a distraction. But I think that’s a good thing ultimately. I’m not certain that the best art would be produced in Eden.
And all tension is released on the final track, a ruminative and gorgeous reimagining of Prince’s “Sometimes It Snows in April.” You can feel all the toxicity leaving your body as the pure sweetness of this music fills you.
After stating the jubilant theme of Marion Brown’s “Similar Limits,” the musicians launch into a propulsive three-way slalom, then converge with a clash like an explosion in a Slinky factory—only to seamlessly snap into a restatement of the theme.
...intuitive players of the highest order like these rarely allow you to rest in their infinite search for something.
