Produced by: RALPH SIMON
Executive Producer: SYBIL GOLDEN

TREVOR CLARK
STANTON DAVIS - trumpet
BRUCE DITMAS - drums
ALEX FOSTER - saxophones
CHRIS HUNTER - saxophones, flute
HOWARD JOHNSON - bass clarinet
RYO KAWASAKI - guitar
PETE LEVIN - keyboards
MIKE RICHMOND - bass
BOB STEWART - tuba
DAVE TAYLOR - bass trombone

The French Horn is rare in jazz, partly because that tone doesn't fit many tunes. No problem for John Clark, he's got many voices, with a facility you hardly expect. He steps in slowly, weaving strong patterns over clever arrangements (he's played for George Russell and Carla Bley - maybe something rubbed off). There's ambition here, though - and oodles of virtuosity. Maybe that title is a declaration! It takes off with a statement - and a continent. A sitar drones softly, drums patter in, and 11 musicians slowly assemble. It's Coltrane's "India," with a chart like Africa/Brass - a nice touch. Clark has a slow burr, a trombone sound as he steps lightly. Now he's a small tuba, high notes of purest gravity. Alex Foster has presence; his raspy surge suggests Trane but never copies him. It ends in a puddle of sound; we are exhausted and thrilled. After such turbulence, we get - an adorable "Only Love," with buttery tone like Willie Ruff. The bass is delicious, like Pete Levin's piano. All is calm, and we all hope for a "Love" as pure as this. "Bad Attitude" starts free, and slowly comes the disconsolate theme. Foster is the sardonic soprano, and Clark the weary 'bone - with - Nanton wah-wah! Lots of ordered cynicism, as you find in Mingus; a tad busy but quite enjoyable. "Airegin" plays it deep: as Bob Stewart blows bass, Clark rasps strong, and whoops it up a bit. (It's the only time he does this, so characteristic of a French horn.) Stewart has a fantastic turn, and leaves before you can thank them. "I Will" brings back the large group, and the sadness blooms on this great ballad. Foster talks tough on a most peculiar background (flute and bass trombone - THAT'S different)! The effect is classical, and it sounds much bigger than 10 pieces. Foster keeps it going: a wonderful wail, impassioned and worthy of the setting. Clark goes soft, atop echoed guitars and a whispering keyboard. He's good, but the chart is better: the high point, for certain. But that isn't all: the Ruff tone returns on "Sister E.M.C.," just him and a soft electric piano. A thought more than a song, you hear the sounds cuddle, and the fireside seems warm indeed. A world of sounds, and many you don't expect from a horn. (There's even a part that sounds like a mute!) All of it is challenging, and most of it is good, so if you want something different, expect John Clark to deliver. He will. 
"Jazz Improv", Vol.2, #2.

Horn player and composer, JOHN CLARK has performed all over the world with a tremendous diversity of musicians, in a variety of musical arenas: Jazz, Pop, Broadway, Classical, and commercial studio work. John holds a Master’s degree from New England Conservatory; he studied Horn with Verne Reynolds, James Stagliano and Thomas Newell. He has become one of the leading horn players of the late 20th Century and his musical profile includes a diversity rare among hornists. Film, television, recording and concert venues are all “home” to him; he has worked with McCoy Tyner, Gil Evans, Carla Bley, The New York City Ballet Orchestra, Brooklyn Philharmonic, The Aspen Wind Quintet, Speculum Musicae, Frank Sinatra, Isaac Hayes, Billy Joel, B.B. King, the Paul Winter Consort, Linda Ronstadt, Joe Lovano, LL Kool J, and nearly a “Who’s Who” of other performing artists. He has regularly appeared with both the Carnegie Hall and Lincoln Center Jazz Orchestras.

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