New York’s SOUP/ THE PATRICK BRENNAN ENSEMBLE. on Introducing: SOUP plays a delightfully quirky, circusy blend of swing, blues and free music. Charles Mingus is, I’d guess their primary inspiration. You can hear his influence most clearly in the horn harmonies on the uptempo Slick, in the mood of the sprightly Waltz, and in the clever ear-catching little background figures the horn players use to spur each other’s solos on. The resultant sound crosses section riffing with New Orleans polyphony.
Gutbucket trombonist (alto, tenor and bass) Fred Parcells is the most endearing player with a boozy style that conjures up images of him tipsily swaying back and forth on the bandstand, always on the verge of falling over or dropping his slide on the floor, yet he always remains in control. Carla Bley, check him out, he may be your next trombone player. The leader has nervous. speedy bop approach to alto sax, though at times he displays a slippery. swoopy sound that complements Parcells’. The horns collectively (tenorist Marvin Blackman joins them) have a flexible sense of pitch that allows for some expressive sour harmonies. particularly on the droney opening to II-I-V Down. The rhythm section of James Weidman (p, org), John Loehrke (b). and Dan Spencer (d) is equally energetic, if less eccentric, save on the tricky, offbeat wobble of the bluesy Pressed Shuffle, on which baritonist Rich Oppenheim sits in. Weidman and Spencer get the most chance to step on Atatatata’s free break. Imaginative (by Brennan) thoroughly rehearsed. with a compelling rhythmic thrust. Fun, and well worth seeking out.

Kevin Whitehead
Cadence- November 1982
Reprinted with permission from Cadence Magazine