agical, powerful and musically unusual bass-drums-saxophone triangle.
Is it possible to make (rock) music with just these three instruments? In this case the answer is a definite ‘Yes!’.
Back Door lived its heydays in the mid-70s and only three albums were left to posterity.
A wondrous trio, with a power that you wouldn’t absolutely suspect.
Three English gentlemen are the protagonists: Colin Hodgkinson (bass), Ron Asprey (sax and flute) and Tony Hicks (drums).
They can convey as no other an electrifying mix of blues, jazz, rock and (why not) funk.
Despite their nationality, their music can be more recognized as belonging to the purest American traditions of the mentioned styles, but Back Door executes everything with a typical English politeness.
Their best and probably most signifying album is the kaleidoscopic 8th Street Nites, where Hodgkinson is constantly on the foreground with his incredible versatile and fluid bass playing style.
His playing is matched, almost note by note, by Hick’s spunky drumming and the almost stupefying alto and soprano sax phrases by Asprey.
When these three astounding and creative professionals are engaged in their complex, though linear and logical phrases, it’s not easy to decide whether to smile with satisfaction or to shake the head in wonder.
No wonder however, that their music would not (and why should it?) stay on the crest of the waves forever.
They have disappeared, leaving the formation in a most natural way, dedicating their careers to impeccable collaborations and sessions with the most famous names of the contemporary music.
Altogether they deserve to be remembered and every now and then 8th Street Nites should be played, not only as a tribute to three spectacular musicians, but also as a deed of well-being.
Remember what Man taught us: “Be good to yourself, at least once a day…”