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No Room for Argument | 
| Artist: Wallace Roney
Label: Stretch
Category: Music
List Price: £15.99
Buy New: £12.69
You Save: £3.30 (21%)
New (14) Used (1) from £5.89
Rating:  3 reviews
Sales Rank: 141424
Media: Audio CD
Discs: 1
Shipping Weight (lbs): 0.2
Dimensions (in): 5.6 x 5 x 0.5
UPC: 013431903321
EAN: 0013431903321
ASIN: B00004XN00
Release Date: October 30, 2000
Shipping: Eligible for Super Saver Shipping
Availability: Usually dispatched within 10 to 12 days
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| Tracks:
| • | No Room For Argument | | • | Homage And Acknowledgement | | • | Straight No Nothing | | • | Metropolis | | • | Christina | | • | NeuBeings | | • | Cygroove | | • | He Who Knows | | • | Virtual Chocolate Cherry | | • | Midnight Blue |
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| Editorial Reviews:
Amazon.co.uk Review
Wallace Roney has often protested his musical separation from his sometime mentor, Miles Davis. But No Room for Argument so openly embraces various parts of Davis's legacy that there really is no room for argument. The band uses as its stylistic focus the Miles discs of Filles de Kilimanjaro and In a Silent Way, the "Filles" theme interwoven on one track with the famous bass ostinato from Coltrane's "A Love Supreme". Geri Allen tracks Chick Corea's work from that time, while sax players Antoine Roney and Steve Hall restlessly switch between Coltrane and Shorter styles. Herbie Hancock's Mwandishi band is also a potent reference. Hall quotes extensively from Coltrane's "Acknowledgement" solo during the most exciting part of the Filles/Supreme track, but is faded (electronically) by the producer. There are samples from Martin Luther King and Malcolm X speeches on these tracks, adding to the weight of the past on the record. Roney plays powerfully, but the parallels do tend to drain his intended impact. --Keith Shadwick
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| Customer Reviews:
 Highly Enjoyable February 8, 2004
Wallace Roney is unfairly criticised for reminding us of Miles Davis. His tone and phrasing are clearly reminiscent and the music on this CD reminds one of when Wayne Shorter's tedious angularity used to dominate Miles Davis' music. Apart from one track on Miles Smiles, for instance, the improvisation was so repetitive one could almost interchange the solos and no one would know. The music on this CD changes all the time within its chosen style. Wayne Shorter never allowed Herbie Hancock room - here all the musicians live and breathe. Highly enjoyable, so much so that as with no other CD I played this three times in a row on purchase.
 Stick with the originals! February 6, 2002
1 out of 1 found this review helpful
This cd contains some fantastic playing by all involved but the whole disc is very derivative. This sounds like a Miles record from 1969-72 using a sharper recording technology. The trumpet and saxes sound uncanily like Davis and Shorter at their peak, which is no mean achievement but one has to ask - to what end? A lot of recent records have taken early seventies Miles as their inspiration and starting point but then go on to say something new. This record is a great pastiche but why buy this when you can now get all the Davis classics in their remastered glory? Go to Miles, the original (and the best!).
contemporary jazz that sounds fresh and exciting January 9, 2001
2 out of 2 found this review helpful
This really is some LP. One you get and just cannot stop playing. The monster rhythm section of Buster Williams and super heavy drummer, Lenny White create some huge backdrops enabling Wallace's trumpet to poke, prod and soar freely. His sound is clearly inspired by Miles 1960's quintet work and much of this LP has that 'soul-jazz' edge. To suggest that this somehow dilutes the music would be a mistake though. Geri Allen goes from strength to strength and is one of the most exciting pianists around at the moment. She has such incredible power and beauty in her playing, whether reproducing Herbie's intricate searching lines or creating that brooding, dramatic sound like a huge bruised cloud fit to burst. I think she is fantastic. Wallace's brother Antoine plays very much like John Coltrane and when the brothers Roney play together the continued relevance of the two giants of 1960's jazz is eerily apparent. This is a must have record that illustrates that contemporary jazz can say something fresh and new while respecting the key innovators of the past.
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