Oregon Music

A Dutch band with a name like this and an album bearing the name of an american state could be either a joke or something very different. And different it is. This quartet is up for something very original, although the elements that make up their sound are quite familar. Well, not too familiar to progheads, maybe, since they draw their inspiration from sources that are not often related to prog music nowadays. But the result is very good even if a bit demanding to the listener. It is complex, varied and very, very well crafted…

Oregon bothers jazz people because a) they're difficult to categorize, and b) they radiate endlessly cheerful vibes bordering on vacuous new age while maintaining a sharp improvisational edge. So goes this high-profile appearance on Columbia's spinoff label, which sometimes stays within the bounds of post-bop jazz yet is more likely to go veering off in contemplative folk-like, Asiatic, Spanish, or even neo-classical directions. Ralph Towner handles both the piano and various guitars and synthesizers with equal facility, while Paul McCandless' reed work evokes the pure white light of Paul Winter; Glen Moore continues to man the bass; Trilok Gurtu alternates between tabla and traps; and Nancy King checks in with a bout of eccentric scatting on "Chihuahua Dreams."

As of this recording, three out of four members of Oregon have been playing together in the group for 42 years. Drummer and percussionist Mark Walker has been on board since 1996, making them among the longest-running small groups in jazz history. Given their long-established sound and collective sense of pan-global adventure, Oregon have remained vital, restless, and disciplined. Family Tree features five new Ralph Towner compositions plus two utterly reworked – and superior – versions of others recorded on his solo offerings, two new Paul McCandless numbers, a new one by Glen Moore, and two collective compositions from the band. Family Tree is the first recording since 1989's 45th Parallel that does not feature any group improvisation.

Fine late '70s material from the acoustic band Oregon. Despite the title, it's not violin-dominated material, but their standard blend of Asian, European, African, and American elements and influences.