Having worked with luminaries such as Steve Swallow, Carla Bley, Maria Schneider and John Abercrombie, when Brooklyn-based sax player Chet Doxas isn’t carving himself a reputation in New York’s jazz scene, he can be found visiting the city’s art galleries. Gazing upon the work of artists like Robert Mapplethorpe, Keith Haring and others with his manuscript in hand, Doxas notates the music that comes to him in response to what he sees. The result is an accessible album delivered alongside a super-tight guitar, bass and drums outfit with Doxas on woodwinds and synths. Despite his jazz credentials, the album sounds and feels more like an instrumental rock album rather than your usual fusion fodder. Expansive, stirring themes are laid on top of surging drums that ramp up the emotional impact of the writing. Reminiscent at times of the kind of joyous, repetitious build in some of Michael Rother’s work, there’s an 80s retro vibe arising from the deployment of spiralling synth tones. Amid the exuberant interactions between guitar and sax, all kinds of surprises are tucked away on an album that celebrates invention, uplifting grooves and yearning melodicism.
Sid's feature articles and reviews have appeared in numerous publications including Prog, Classic Rock, Record Collector, Q, Mojo and Uncut. A full-time freelance writer with hundreds of sleevenotes and essays for both indie and major record labels to his credit, his book, In The Court Of King Crimson, an acclaimed biography of King Crimson, was substantially revised and expanded in 2019 to coincide with the band’s 50th Anniversary. Alongside appearances on radio and TV, he has lectured on jazz and progressive music in the UK and Europe.
A resident of Whitley Bay in north-east England, he spends far too much time posting photographs of LPs he's listening to on Twitter and Facebook.