Jazz
Andy Timmons must have thought “well, twist my arm” when Steven P. Haas asked him to work on The Haas Company’s debut record, getting credits on every track and a prominent featuring spot on the cover. It turns out Mr Haas is a former American executive who’d served on the board of directors of the Tomball Chamber of Commerce and on the board of the Houston Greater Better Business Bureau, both in Texas.
We’re guessing that after putting together a decent nest egg, he decided to dedicate himself to music and became a board member of the Houston Jazz Festival and Jazz Collective. And as a drummer, he brought together a handful of top-class musicians to put together his first instrumental album. Having the money to afford this kind of thing stirs up a healthy dose of envy, and a bit of annoyance, in penny-pinchers like us — though only a little, because, honestly, who wouldn’t do the same if they had the means?
Either way, the money was very, very well spent: Kirwan Brown (bass), Peter Drungle (keyboards), Frank Gambale (guitar), Pete Gallo (saxophone), Samuel Hallkvist (guitar), Al MacDowell (bass), Guy Pratt (bass), Jay Rodríguez (saxophone), Andy Timmons (guitars); alongside the aforementioned Steven P. Haas (drums and percussion).
We open the record with “Leather Pajamas”. The band’s ostinato rhythm quickly gives way to the magnificent guitar, which will be the star of almost every track, and boy, does it flex its muscles right from the start. An extremely rhythmic, powerful rock track, with a good groove and exceptionally high-quality solos — not for nothing is Timmons credited as co-writer on every single track.
“1979” has a calmer, though still electrifying, opening mood. We get the same setup showcasing the six strings, but they also bring in keyboards that give it more of a jazz-rock feel. After this first solo, we get a minor-chord progression, decorated with keyboard runs, giving way to new melodic guitar lines. Then comes a curious section in 13/8, featuring a keyboard solo recalling the sound of the legendary Moog synthesizer, and as if that weren’t enough, we get a second round of keyboard space in an 11/8 amalgam, which also features a bass solo and a guitar solo.
With a shadowy mid-tempo feel and an intense guitar leading the way, the opening bars of “Good Lieutenant” kick in. The second half recalls the typical riffs of Emerson, Lake & Palmer, and its passages that draw directly from classical composers, though with the ever-present, masterful guitar layered on top. Its closing section moves away from these ideas and wanders down paths of rock with jazz influences.
The rhythmic 7/8 time signature sets the pace for “Stockholm Syndrome”, featuring Wallace Rooney’s trumpet giving a masterclass in what to do with the instrument. At the other end of the spectrum we have Steven P. Haas who, despite playing the tracks correctly and decently, doesn’t quite have the same musical vocabulary as the line-up he’s assembled, and ends up feeling a touch repetitive in his playing. Regardless, it’s a good jazz-rock track to put on for a morning of chores at home.
“Ballad for Andy” already tells you we’ll get a jazzy-style ballad, ticking every box of that type of composition without any further surprises. Less standard is “Magic Log”, where, over an energetic band riff, the guitar spins out its lines and solos. The game here is built on alternating speeds and on the riff entering and exiting, with a bridge tying all the ideas together. Easy listening for the whole proggy family.
A classic jazz-rock line pushes its way through on the title track, “Galactic Tide”, featuring Jay Rodríguez on saxophone — a smart production choice, since it adds a new colour to a palette otherwise dominated by guitar. That said, the producer really ought to have suggested more variety in the drum registers, especially since the china cymbals start to get tiring; but hey, he who pays the piper…
A forceful introduction lays out the motif that will carry saxophone and guitar through their respective spotlight moments. A formula that’s already been used plenty on this album, and which starts to feel recurring by this point. “Tower of Babel” isn’t a bad composition, but on a 66-minute record, there’s nothing wrong with trimming a couple of songs, especially when you’re working in such a specific style.
And we close with “Arrow of Time”, in an upbeat triple metre and featuring Pete Gallo on saxophone. Entertaining and interesting for the tonal modulations it offers. A conclusion that presents ideas our ears have already come to know.
In summary: a good album from Andy Timm…, sorry, from The Haas Company — perhaps a bit too long. If you’re a fan of Jeff Beck, Allan Holdsworth, or even Al Di Meola, you’ll enjoy it. But honestly, if you’re not into guitar-driven records, you’re out of luck here. Either way, it’s not a bad listen, even if it won’t go down in the history books.
Editorial note: if any multimillionaire out there wants to make a little music project, drop us an email, yeah? No pressure, just saying.
Writer: David Sàez