A clean, no-harm, no-foul "safe zone" traditional offering from Mitch Paliga. Not terribly exciting but then, not all of the great compositions of the legendary greats were or have been either. Can Paliga become a legendary great? You be the judge. I can say that he’s certainly a quite competent sax player who’s obviously cut his teeth on this music a while ago. His style is unimposing, but precise, like the kind of jazz you’d associate with one who’s more into the quality of his sound than in the number of No.1 hits he’s produced in "x" number of years, or in how many awards.
Paliga has had the distinct honor of playing with the likes of Randy Brecker, The Temptations, Marie Osmond and countless others. Those experiences have certainly helped with the polish here, I’m sure.
Paliga gets a robust amount of help from his group, as is evidenced by the stylish and unabrasive keys of Jo Ann Dougherty and the crystal strumming and riffs by guitarist John McLean. Patrick Williams also offers notable proficiency on the upright bass.
The melodies here are often like whispers. One must pay attention so as not to miss some of the beautiful subtleties being offered up here in abundance (case in point might be Track 2, "QP Doll"). One tune of note to me is "Blues for October," which while relating to the blues (as I can so often do, since I have a love for it), takes on a different face. An interesting percussion-rich piece.
Nicely structured, soft, unobtrusive, and palatable. That’s the gist of Fall Night. There are only seven pieces here, all somewhat long, but each offering a touch of solace and class.