Punk, weirdo, jazz man, blues scrapper, session man, Arthur Doyle is all of these things all at once and he lives on the very fringes of the musical landscape because of it. When he sings he calls back in time to all the ancestors gone before him. His horn releases a white heat that crumbles the foundations of our thoughts of what horn music could be or should be. When he plays the flute he invokes placid futures, the future the ancestors were working toward finally coming to pass.
Doyle is hardly alone in his position as a marginal figure in American music. In an art form known for its many trials and tribulations, he hasn’t made his situation any easier by slashing and burning a singular path through music’s outskirts. The fact that he has done so, however, is what makes his music so unique. Performing in a style he calls “free jazz soul,” Doyle combines the liberation of the avant-garde, the chiaroscuro grit of gospel and r&b and the pure scalding energy of the punk ethos.