David Weiss and the Point of Departure Quintet at Fat Cat Every Thursday in July


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Fat Cat
David Weiss and the
Point of Departure Quintet

David Weiss- Trumpet
J.D. Allen- Tenor Sax
Nir Felder- Guitar
Luques Curtis- Bass
Kendrick Scott- Drums

Fat Cat
75 Christopher Street
(between 7th Avenue and Bleecker Street)
(212) 343-0612

Every Thursday in July
July 6, 13, 20 and 27
Shows at 10 pm and 12 midnight
$10 Cover Charge with this invite

The late 1960's were a turbulent but exciting time for jazz. The music seemed to simultaneously get more complex and simpler at the same time as a variety of influences infused the music. Some were experimenting with soul, rock and exotic rhythms from the India and the Far East. Others were carrying on the innovations of the second great Miles Davis quintet, using the groups ever shifting rhythms and harmonic complexities as a springboard to new compositional ideas. Some somehow combined both to create some new, exciting music. The Point of Departure Quintet is re-examining some of the most innovative music of the period, some of it neglected, some, perhaps, never quite as developed as it could have been as things seemed to move at a pace during that period that left some music from being fully realized as they quickly moved on to the next new thing. Among the composers being re-examined and re-imagined are Andrew Hill, Wayne Shorter, Joe Henderson and music from the unsung Kenny Cox and the Contemporary Jazz Quintet (who recorded two seminal but under appreciated records for Blue Note in the late 1960s).

Known for introducing many of the finest young musicians to the jazz world for the past 10 years through his sextet (Marcus and E.J. Strickland), the New Jazz Composers Octet (Myron Walden, Jimmy Greene, Greg Tardy, Xavier Davis and Nasheet Waits) and as a producer (first CD's by Robert Glasper, Jeremy Pelt and Marcus Strickland), Weiss introduces some more of the finest young musicians on the scene today, Bassists Ameen Saleem and Luques Curtis, Guitarist Nir Felder and Drummers Jamire Williams and Darrell Green.

“Now with The Mirror, he demonstrates that Breathing Room was no fluke as he serves up a programme marking him as one of the more cerebral yet visceral writers to arise in recent years. With an album that is heady in both senses of the word--intelligent and exhilarating--Weiss emerges as one of the finest artists to mine the post bop arena, with an ability to develop longer-form composition that is clearly indebted to Wayne Shorter. Not since Dave Douglas rose to prominence in the mid-'90s has a trumpet player come along with such a perfect combination of technical prowess, unerring instinct for captivating melody, harmony and counterpoint, and sheer emotional force. A masterpiece by any definition, The Mirror deserves a place high in most listeners' top ten lists for '04 for its ability to engage more than just the ears; Weiss' compositions are remarkably visual as well"--John Kelman, All About Jazz

“The compositions and especially the colourful, warm, often pedal- point-punctuated arrangements show how rapidly Weiss is maturing. His writing may well be initially inspired by what Wayne Shorter was doing for Miles in the mid '60s, but it is totally contemporary in its expansion of that era's unfinished business. And his two scores for the larger line-up are exceptional. The emotional depth of the scoring and the solos make it really something special. So is the whole album. Watch for Weiss. He's a major new talent. One of my 2004 Top Three CDs"--Tony Hall, JazzWise Magazine

“Weiss writes tunes with evocative melodic ambivalence and veering surprises and hovering pedal points and metrical asymmetry, all qualities associated with the sensibility that Wayne Shorter brought to jazz. But Weiss does not repeat it, he expands upon it"--Thomas Conrad, DownBeat Magazine

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