11 Songs, 1 Hour, 6 Minutes

EDITORS’ NOTES

Tenor saxophonist Anton Schwartz has had a strong presence as a player, teacher, and mentor on the West Coast for nearly two decades, first living in San Francisco and now in Seattle. He’s stayed so busy that it’s been eight years since his last album. Picking up right where he left off, Flash Mob tastefully channels a blend of late-‘50s to mid-‘60s jazz, specifically The Jazz Messengers and John Coltrane’s Atlantic era. The former comes through in the unison horn lines of Schwartz and trumpet/flugelhorn player Dominick Farinacci, and the latter in the playing of the saxophonist as well as the tight and punchy work of pianist Taylor Eigsti, bassist John Shifflett, and drummer Lorca Hart. The insistent title track kicks things off on high note, with a nice greasy blues called “Swamp Thing” following. There are also several excellent ballads here, led by the elegiac “Dawn Song,” the slow blues of “Alleybird," and a noir-ish take on Kenny Dorham’s “La Mesha.” Lightening the mood, Schwartz also includes a New Orleans–style take on Monk’s “Epistrophy.” Job done: this is thoughtful, exceptionally detailed, and just plain fresh-sounding.

EDITORS’ NOTES

Tenor saxophonist Anton Schwartz has had a strong presence as a player, teacher, and mentor on the West Coast for nearly two decades, first living in San Francisco and now in Seattle. He’s stayed so busy that it’s been eight years since his last album. Picking up right where he left off, Flash Mob tastefully channels a blend of late-‘50s to mid-‘60s jazz, specifically The Jazz Messengers and John Coltrane’s Atlantic era. The former comes through in the unison horn lines of Schwartz and trumpet/flugelhorn player Dominick Farinacci, and the latter in the playing of the saxophonist as well as the tight and punchy work of pianist Taylor Eigsti, bassist John Shifflett, and drummer Lorca Hart. The insistent title track kicks things off on high note, with a nice greasy blues called “Swamp Thing” following. There are also several excellent ballads here, led by the elegiac “Dawn Song,” the slow blues of “Alleybird," and a noir-ish take on Kenny Dorham’s “La Mesha.” Lightening the mood, Schwartz also includes a New Orleans–style take on Monk’s “Epistrophy.” Job done: this is thoughtful, exceptionally detailed, and just plain fresh-sounding.

TITLE TIME
6:08
5:09
7:47
6:48

About Anton Schwartz

Influenced by Wayne Shorter, John Coltrane, and Joe Henderson as well as Dexter Gordon, Anton Schwartz is a melodic tenor saxophonist who has been based in the San Francisco Bay Area since the 1990s. Although identified with the Bay Area, Schwartz is actually a native of New York, where he started playing jazz on the clarinet at 12 before switching to the sax at 14. In high school, he formed a group that included guitarist Peter Bernstein and organist Larry Goldings and sat in with Woody Herman and Lionel Hampton. Schwartz moved to Cambridge, Massachusetts in 1985 to attend Harvard, where he studied math and philosophy and played in the Harvard Jazz Band. In 1989, he moved to California to attend Stanford, from which he earned a master's degree. After graduating, Schwartz became a permanent resident of the Bay Area, where he led his own groups and worked as a sideman for pianist Mark Levine and singer Kitty Margolis. Schwartz was 30 when, in 1997, he recorded his debut album, When Music Calls, for his own Anton Jazz label. Slow Lane followed exactly two years later. Schwartz released Holiday Time in 2004, then Radiant Blue with Taylor Eigsti and Peter Bernstein in 2006. In 2014 came the release of Flash Mob, again with Taylor Eigsti. ~ Alex Henderson

  • ORIGIN
    New York, NY
  • GENRE
    Jazz
  • BORN
    July 16, 1967

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