Watkins could have established a lineage, however French hornists are nonetheless uncommon in jazz. That’s a disgrace, because the quartet demonstrated. Enjoying below a cover tent (and generally diminished by passing Metro trains and helicopters), Mamet’s horn blended superbly with Sarah Hughes’s alto saxophone on tunes like Thelonious Monk’s “Consider One” (the unique 1953 recording of which was Watkins’s profession breakthrough) and Watkins’s beautiful “Lifetime of Love.” Extra attention-grabbing, although, was after they dueled as an alternative of mixing. On Watkins’s swinger “Blue Modes,” they traded bantering fours, then went into playful counterpoint. Hughes emitted cool tones on alto, whereas Mamet went aggressive, as if to push by way of the French horn’s pure mellow sound. They met within the center.
https://www.washingtonpost.com/leisure/music/abe-mamet-rhizome/2021/10/09/6790eaa6-2923-11ec-8d53-67cfb452aa60_story.html | Jazz evaluation: At Rhizome, French horn participant Abe Mamet anchors a beautiful jazz quartet