4 Although there are some songs on Back Nine where the inclusion of a second lead instrument besides guitar would have been nice, the interplay between bassist Tom Warrington, drummer Joe La Barbera and ax-man Larry Koonse is so tight and inviting that most of the time you forget about the absence of reeds, brass or keyboards. Koonse is splendid on ballads, inventive on the blues and faster numbers and repeatedly delivers fleet, supple solos and accompaniment. The Warrington/La Barbera duo add plenty of fire and verve in response, from the late-night sensibility of "My One and Only Love" to the more intense, upbeat feel they exemplify on "Whisper Not," "Nardis" and "Labyrinth." La Barbera occasionally adds some rhythmic energy to the proceedings, while Warrington (who doubles as producer) proves both a steady, frenetic accompanist and occasional star soloist. The trio fleshes out the compositions while avoiding repetition, excess and tedium. In fact, they sometimes seem to cut it a bit short, as both "Nardis" and "Labyrinth" seem ready to move into another gear as they're fading out. But there are certainly enough solid music and good performances on this CD to give audiences a chance at hearing three accomplished, experienced players enjoying themselves in a setting that's not musically adventurous but is certainly joyous. true 192 2007-06-07T14:05:44-04:00 16664 100 200603 true 0 65 2006-03-01T00:00:00-05:00

Although there are some songs on Back Nine where the inclusion of a second lead instrument besides guitar would have been nice, the interplay between bassist Tom Warrington, drummer Joe La Barbera and ax-man Larry Koonse is so tight and inviting that most of the time you forget about the absence of reeds, brass or keyboards. Koonse is splendid on ballads, inventive on the blues and faster numbers and repeatedly delivers fleet, supple solos and accompaniment. The Warrington/La Barbera duo add plenty of fire and verve in response, from the late-night sensibility of "My One and Only Love" to the more intense, upbeat feel they exemplify on "Whisper Not," "Nardis" and "Labyrinth." La Barbera occasionally adds some rhythmic energy to the proceedings, while Warrington (who doubles as producer) proves both a steady, frenetic accompanist and occasional star soloist. The trio fleshes out the compositions while avoiding repetition, excess and tedium. In fact, they sometimes seem to cut it a bit short, as both "Nardis" and "Labyrinth" seem ready to move into another gear as they're fading out. But there are certainly enough solid music and good performances on this CD to give audiences a chance at hearing three accomplished, experienced players enjoying themselves in a setting that's not musically adventurous but is certainly joyous.

2009-03-02T00:25:22-05:00

4 On What Goes Around (ECM), Dave Holland shows why he, his bass, his big and small bands, his writing and his arranging have won buckets of awards. What Goes Around is Holland's first big-band recording, and it deservedly created a sensation among industry jazzoids. Part of the reason lies in his indebtedness to Mingus. As Holland told writer Bob Blumenthal, "Flexibility has been built into the music, so we can change it from night to night. The idea, as in the music of Ellington-Strayhorn and Charles Mingus, is that it can be difficult to tell where writing and improvising diverge." But Holland enjoys the best of both worlds with his firm, straightahead, Ray Brown-like underpinning. His 13-piece band, with his current quintet as its nucleus (trombonist Robin Eubanks, tenor saxophonist Chris Potter, vibist Steve Nelson and drummer Billy Kilson), excels at contrapuntal lines. It is indeed difficult to discern between what's arranged and what is spontaneous, particularly on "Triple Dance," "Shadow Dance" and the rhythmically complex title tune, which alternates between five and six. Much of the credit for the band's distinctive sound goes to Nelson. Holland prefers the color of the mallets and their ability to provide more breathing room harmonically than a piano. What Goes Around is filled with outstanding charts, solo work and concerted playing. true 160 2007-06-07T14:05:44-04:00 13481 65 200212 true 0 65 2002-12-01T00:00:00-05:00

On What Goes Around (ECM), Dave Holland shows why he, his bass, his big and small bands, his writing and his arranging have won buckets of awards. What Goes Around is Holland's first big-band recording, and it deservedly created a sensation among industry jazzoids. Part of the reason lies in his indebtedness to Mingus. As Holland told writer Bob Blumenthal, "Flexibility has been built into the music, so we can change it from night to night. The idea, as in the music of Ellington-Strayhorn and Charles Mingus, is that it can be difficult to tell where writing and improvising diverge." But Holland enjoys the best of both worlds with his firm, straightahead, Ray Brown-like underpinning. His 13-piece band, with his current quintet as its nucleus (trombonist Robin Eubanks, tenor saxophonist Chris Potter, vibist Steve Nelson and drummer Billy Kilson), excels at contrapuntal lines. It is indeed difficult to discern between what's arranged and what is spontaneous, particularly on "Triple Dance," "Shadow Dance" and the rhythmically complex title tune, which alternates between five and six. Much of the credit for the band's distinctive sound goes to Nelson. Holland prefers the color of the mallets and their ability to provide more breathing room harmonically than a piano. What Goes Around is filled with outstanding charts, solo work and concerted playing.

2009-03-02T00:23:09-05:00

4 Buster Williams' latest combo session, Joined at the Hip (TCB) is further evidence of his firm anchoring skill and tasteful, hornlike solos. It also reveals his disdain for the limelight, generously granting more stretch-out room to his colleagues-in this case, alto saxophonist Steve Wilson, pianist Carlos McKinney and drummer Ali Muhammad Jackson Jr. Since it evolved into a tribute to Charlie Parker, Wilson gets the Bird's share of solo space and proves to be an outstanding descendant of Parker. The concept can be an ear-opener for the unhip: The quartet reveals the origin of "What Is This Thing Called Love?" when Wilson follows that melody with the Parker line from "Hot House." More instructive is "Scrapple From the Apple." No mere juxtaposition: McKinney plays "Honeysuckle Rose" straight while Wilson jauntily overlays the bop line as Williams and Jackson add a mild Latin accent. This is Wilson's moment to shine, but you can't take your ears off Williams' growling walk, bent tones and impeccable intonation. true 160 2007-06-07T14:05:44-04:00 13482 65 200212 true 0 65 2002-12-01T00:00:00-05:00

Buster Williams' latest combo session, Joined at the Hip (TCB) is further evidence of his firm anchoring skill and tasteful, hornlike solos. It also reveals his disdain for the limelight, generously granting more stretch-out room to his colleagues-in this case, alto saxophonist Steve Wilson, pianist Carlos McKinney and drummer Ali Muhammad Jackson Jr. Since it evolved into a tribute to Charlie Parker, Wilson gets the Bird's share of solo space and proves to be an outstanding descendant of Parker. The concept can be an ear-opener for the unhip: The quartet reveals the origin of "What Is This Thing Called Love?" when Wilson follows that melody with the Parker line from "Hot House." More instructive is "Scrapple From the Apple." No mere juxtaposition: McKinney plays "Honeysuckle Rose" straight while Wilson jauntily overlays the bop line as Williams and Jackson add a mild Latin accent. This is Wilson's moment to shine, but you can't take your ears off Williams' growling walk, bent tones and impeccable intonation.

2009-03-02T00:23:09-05:00

4 For The History of Jazz, Vol. 2: Dedications (Arbors), bassist Michael Moore leads an unusual trio, with drummer Tom Melito and Ken Peplowski on clarinet and tenor. If the instrumentation seems limiting, the scope of their project may very well be endless. The CD's subtitle indicates that Moore not only covers diverse styles with neglected standards, as he did in Vol. 1 (2000), but an opportunity to dedicate six appropriate originals to six musicians with whom he has played, or simply admires. Peplowski labels them "Michael's abstract paintings." Whatever the concept, the playing is superb. Moore is a gentle, laid-back swinger more concerned with supplying just the right notes rather than playing too much. He's the Basie of the bass, as comfortable playing piano for his first dedication (to Jimmy Rowles), as he is with his main instrument. On another tribute, to introduce Jerome Kern's "Yesterdays," Moore plays an excerpt from a suite for unaccompanied cello by Bach. It's that kind of eclectic album. true 160 2007-06-07T14:05:44-04:00 13483 65 200212 true 0 65 2002-12-01T00:00:00-05:00

For The History of Jazz, Vol. 2: Dedications (Arbors), bassist Michael Moore leads an unusual trio, with drummer Tom Melito and Ken Peplowski on clarinet and tenor. If the instrumentation seems limiting, the scope of their project may very well be endless. The CD's subtitle indicates that Moore not only covers diverse styles with neglected standards, as he did in Vol. 1 (2000), but an opportunity to dedicate six appropriate originals to six musicians with whom he has played, or simply admires. Peplowski labels them "Michael's abstract paintings." Whatever the concept, the playing is superb. Moore is a gentle, laid-back swinger more concerned with supplying just the right notes rather than playing too much. He's the Basie of the bass, as comfortable playing piano for his first dedication (to Jimmy Rowles), as he is with his main instrument. On another tribute, to introduce Jerome Kern's "Yesterdays," Moore plays an excerpt from a suite for unaccompanied cello by Bach. It's that kind of eclectic album.

2009-03-02T00:23:09-05:00

4 "New Beginning" is the title tune off the latest release by acoustic bassist Harvie Swartz, but it could also apply to his new identity, Harvie S. This self-released disc is the second by his jazz/Afro-Cuban/fusion band, Eye Contact. It also contains some funky elements, occasional electronic effects, even world music, but the predominant sound is Latin. It's a far cry from his hard-swinging days with Getz and Zoot-or his 14-year stint with singer Sheila Jordan. In the present context, Harvie (I feel silly calling him S) tends to get buried in the mixture of sonorities. There is no doubt about his virtuosity, but since there is precious little swing, his main contribution is maintaining the hypnotic repetition of Latin licks. Eight of New Beginning's nine tracks are his originals, and most of them are boring. "Chump Change" and "A Bright Moment" show off pianist Daniel Kelly's chops. Violinist Gregor Huebner induces a beautiful tone on the rhapsodic "Luna Romantica" and is answered by Harvie's most eloquent moments. It also includes a fine solo by trumpeter Ray Vega. He and tenor saxophonist Michael Brecker each get two guest spots. Percussionist Renato Thoms is as tasteful as he is busy. The same could be said for Harvie, instrumentally. But while he has established Eye Contact as a group, it goes in so many directions as a concept it loses ear contact. true 160 2007-06-07T14:05:44-04:00 13484 65 200212 true 0 65 2002-12-01T00:00:00-05:00

"New Beginning" is the title tune off the latest release by acoustic bassist Harvie Swartz, but it could also apply to his new identity, Harvie S. This self-released disc is the second by his jazz/Afro-Cuban/fusion band, Eye Contact. It also contains some funky elements, occasional electronic effects, even world music, but the predominant sound is Latin. It's a far cry from his hard-swinging days with Getz and Zoot-or his 14-year stint with singer Sheila Jordan. In the present context, Harvie (I feel silly calling him S) tends to get buried in the mixture of sonorities. There is no doubt about his virtuosity, but since there is precious little swing, his main contribution is maintaining the hypnotic repetition of Latin licks. Eight of New Beginning's nine tracks are his originals, and most of them are boring. "Chump Change" and "A Bright Moment" show off pianist Daniel Kelly's chops. Violinist Gregor Huebner induces a beautiful tone on the rhapsodic "Luna Romantica" and is answered by Harvie's most eloquent moments. It also includes a fine solo by trumpeter Ray Vega. He and tenor saxophonist Michael Brecker each get two guest spots. Percussionist Renato Thoms is as tasteful as he is busy. The same could be said for Harvie, instrumentally. But while he has established Eye Contact as a group, it goes in so many directions as a concept it loses ear contact.

2009-03-02T00:23:09-05:00

4 Bassist David Friesen is virtually naked in his new release, Grace (Khaeon), as half of a duo with pianist Jeff Gardner. It is an intellectual playing and listening experience. Friesen and Gardner are as sensitive and as anticipatory to each other's styles, harmonic language and silences as earlier musical marriages in that genre: Evans-Gomez, Peterson-Pedersen, Ellington-Blanton. Friesen plays a Hemage bass, which was made in Austria. He is quoted in the liner notes as saying, "It doesn't have a scroll. I tune it below the bridge, so what acts as the tailpiece also acts as the tuning device." The important thing is what emerges from the fingerboard: more poetry than power. He seldom walks; Friesen usually provides an obbligato to Gardner's melodies yet always implies unmistakable tempi. It is most obvious on Gardner's original "Dad's Dream," where the pianist tends to sound like a harmonically daring George Winston. Other highlights: the Latin cushion Friesen provides Gardner on "Esquecendo"; the tricky double stops on "Blues for Hawk," where Friesen also reveals how propulsive his walking can be; and finally, the creative deconstruction of "My Funny Valentine." Gardner does most of the writing, and he's the only jazz player I know of who can boast of having studied composition with the classical icon Nadia Boulanger. true 160 2007-06-07T14:05:44-04:00 13485 65 200212 true 0 65 2002-12-01T00:00:00-05:00

Bassist David Friesen is virtually naked in his new release, Grace (Khaeon), as half of a duo with pianist Jeff Gardner. It is an intellectual playing and listening experience. Friesen and Gardner are as sensitive and as anticipatory to each other's styles, harmonic language and silences as earlier musical marriages in that genre: Evans-Gomez, Peterson-Pedersen, Ellington-Blanton. Friesen plays a Hemage bass, which was made in Austria. He is quoted in the liner notes as saying, "It doesn't have a scroll. I tune it below the bridge, so what acts as the tailpiece also acts as the tuning device." The important thing is what emerges from the fingerboard: more poetry than power. He seldom walks; Friesen usually provides an obbligato to Gardner's melodies yet always implies unmistakable tempi. It is most obvious on Gardner's original "Dad's Dream," where the pianist tends to sound like a harmonically daring George Winston. Other highlights: the Latin cushion Friesen provides Gardner on "Esquecendo"; the tricky double stops on "Blues for Hawk," where Friesen also reveals how propulsive his walking can be; and finally, the creative deconstruction of "My Funny Valentine." Gardner does most of the writing, and he's the only jazz player I know of who can boast of having studied composition with the classical icon Nadia Boulanger.

2009-03-02T00:23:09-05:00

4 Charles Fambrough is your typical journeyman bassist, represented here fronting his hard-driving bop quintet through Live at Zanzibar Blue (Random Chance) in his hometown of Philadelphia. Fambrough shows the spark that drove Art Blakey's Messengers during the '80s. But the mix is uneven, and there are times when Fambrough is not always heard to full advantage. Another problem is a misnumbering of some tracks. (Perhaps that's why the label is called Random Chance.) The liner notes don't help. They consist of Fambrough's reasons for some of his dedications. Fambrough always provides a firm bass line and a big fat tone. Both qualities can be heard with no difficulty on a beautiful, introspective ballad, "Prayer," (somewhat suggestive of "Killer Joe") by pianist Bill O'Connell, and on his own swinger "K-Mac." "All Blues" is partially funk because of some rockish drumming. Fambrough comes up with some challenging lines that are executed impressively by the front line of trumpeter Sean Jones and soprano saxophonist Joe Ford, particularly the two cooking versions of "Zanzibar Blue." true 160 2007-06-07T14:05:44-04:00 13486 65 200212 true 0 65 2002-12-01T00:00:00-05:00

Charles Fambrough is your typical journeyman bassist, represented here fronting his hard-driving bop quintet through Live at Zanzibar Blue (Random Chance) in his hometown of Philadelphia. Fambrough shows the spark that drove Art Blakey's Messengers during the '80s. But the mix is uneven, and there are times when Fambrough is not always heard to full advantage. Another problem is a misnumbering of some tracks. (Perhaps that's why the label is called Random Chance.) The liner notes don't help. They consist of Fambrough's reasons for some of his dedications. Fambrough always provides a firm bass line and a big fat tone. Both qualities can be heard with no difficulty on a beautiful, introspective ballad, "Prayer," (somewhat suggestive of "Killer Joe") by pianist Bill O'Connell, and on his own swinger "K-Mac." "All Blues" is partially funk because of some rockish drumming. Fambrough comes up with some challenging lines that are executed impressively by the front line of trumpeter Sean Jones and soprano saxophonist Joe Ford, particularly the two cooking versions of "Zanzibar Blue."

2009-03-02T00:23:09-05:00

4 There's a new bass face in the Apple, Matt Penman, from New Zealand, with a debut CD as leader/writer/producer, The Unquiet (Fresh Sound/New Talent). I would like to say he succeeds in all three categories, but what emerges most impressively is his bass playing. And thereby hangs a blatant irony: Penman takes but one solo, and all eight tunes are his. Is the 27-year-old shy? Or intimidated by the prodigious talents of his colleagues, tenor and soprano saxophonist Chris Cheek, guitarist Kurt Rosenwinkel, keyboardist Aaron Goldberg and drummer Jeff Ballard? That lone Penman solo comes in "Treehugger," over the celestial sounds of Goldberg's Fender Rhodes, and it is beautifully shaped. For other insights into his melodic sense, you have to wait for his rare moments of gap-filling. In general, though, Penman's writing is weak, with lines that do not lie well, as evidenced by his endless, plodding title tune, which sounds like he dispensed with bar lines. Same complaint about "Desert Storm": it's stuck in a whole-tone sand dune and seems to go nowhere. true 160 2007-06-07T14:05:44-04:00 13487 65 200212 true 0 65 2002-12-01T00:00:00-05:00

There's a new bass face in the Apple, Matt Penman, from New Zealand, with a debut CD as leader/writer/producer, The Unquiet (Fresh Sound/New Talent). I would like to say he succeeds in all three categories, but what emerges most impressively is his bass playing. And thereby hangs a blatant irony: Penman takes but one solo, and all eight tunes are his. Is the 27-year-old shy? Or intimidated by the prodigious talents of his colleagues, tenor and soprano saxophonist Chris Cheek, guitarist Kurt Rosenwinkel, keyboardist Aaron Goldberg and drummer Jeff Ballard? That lone Penman solo comes in "Treehugger," over the celestial sounds of Goldberg's Fender Rhodes, and it is beautifully shaped. For other insights into his melodic sense, you have to wait for his rare moments of gap-filling. In general, though, Penman's writing is weak, with lines that do not lie well, as evidenced by his endless, plodding title tune, which sounds like he dispensed with bar lines. Same complaint about "Desert Storm": it's stuck in a whole-tone sand dune and seems to go nowhere.

2009-03-02T00:23:09-05:00

4 Ron McClure's Match Point (Steeplechase) certainly goes somewhere, by combining contemporary and mainstream. That amalgam jumps right out of "Cellular Expansion," mainly a showcase for drummer Jeff Brillinger, but it's fascinating to hear McClure's nonstop bass comments, from pedal points to double stops, behind the kit. McClure's challenging head reveals excellent chemistry between tenor saxophonist Jed Levy and guitarist Bob DeVos. It's DeVos who comes up with the trickiest bop line of all in his reworking of "Yesterdays" called "In Search of Times Lost." He manages to obscure the cycle of fourths so effectively, I would never have guessed it was based on the Kern classic. Some of McClure's finest solo moments come in "Walter Davis," a tribute to the late pianist by McClure. Taken at a relaxed groove, the tune allows McClure to show his melodic chops. Elsewhere, he does what a bassist should do (leader or not): he propels his colleagues to lay back and float down the mainstream, as on DeVos' gentle "Shorter Story." Here's hoping this two-year-old combo stays together. true 160 2007-06-07T14:05:44-04:00 13488 65 200212 true 0 65 2002-12-01T00:00:00-05:00

Ron McClure's Match Point (Steeplechase) certainly goes somewhere, by combining contemporary and mainstream. That amalgam jumps right out of "Cellular Expansion," mainly a showcase for drummer Jeff Brillinger, but it's fascinating to hear McClure's nonstop bass comments, from pedal points to double stops, behind the kit. McClure's challenging head reveals excellent chemistry between tenor saxophonist Jed Levy and guitarist Bob DeVos. It's DeVos who comes up with the trickiest bop line of all in his reworking of "Yesterdays" called "In Search of Times Lost." He manages to obscure the cycle of fourths so effectively, I would never have guessed it was based on the Kern classic. Some of McClure's finest solo moments come in "Walter Davis," a tribute to the late pianist by McClure. Taken at a relaxed groove, the tune allows McClure to show his melodic chops. Elsewhere, he does what a bassist should do (leader or not): he propels his colleagues to lay back and float down the mainstream, as on DeVos' gentle "Shorter Story." Here's hoping this two-year-old combo stays together.

2009-03-02T00:23:09-05:00

4 With his Nu Trio/Quintet, Mario Pavone directs in a way that a bassist/leader should, but on Mythos (Playscape) he does so in a language that's so far out it's not difficult to believe that he earned an engineering degree at the University of Connecticut before he even discovered the bass. At 24 he began his second profession, plunging head first into the avant-garde world of New York City playing with the likes of Paul Bley, Archie Shepp and Rashied Ali-heady company for a newcomer. Now in his 60s, Pavone has found his niche, thanks to the brilliant pianist Peter Madsen and perpetual-motion drummer Matt Wilson. (Michael Sarin spells Wilson on three tracks.) The quintet is formed with the addition of trumpeter Steven Bernstein and tenor saxophonist Tony Malaby. Pavone's writing is so harmonically daring and unpredictable that those with the technique of a Madsen or Wilson tend to bury the bass line. Imagine the texture when the horns are added. Unless Pavone is actually soloing, there are not enough opportunities to fully appreciate this late bloomer's bass playing. Check "Sky Piece" and "Dancers Tales" for the beauty of his tone and "Isobars" for his instinct to swing. true 160 2007-06-07T14:05:44-04:00 13489 65 200212 true 0 65 2002-12-01T00:00:00-05:00

With his Nu Trio/Quintet, Mario Pavone directs in a way that a bassist/leader should, but on Mythos (Playscape) he does so in a language that's so far out it's not difficult to believe that he earned an engineering degree at the University of Connecticut before he even discovered the bass. At 24 he began his second profession, plunging head first into the avant-garde world of New York City playing with the likes of Paul Bley, Archie Shepp and Rashied Ali-heady company for a newcomer. Now in his 60s, Pavone has found his niche, thanks to the brilliant pianist Peter Madsen and perpetual-motion drummer Matt Wilson. (Michael Sarin spells Wilson on three tracks.) The quintet is formed with the addition of trumpeter Steven Bernstein and tenor saxophonist Tony Malaby. Pavone's writing is so harmonically daring and unpredictable that those with the technique of a Madsen or Wilson tend to bury the bass line. Imagine the texture when the horns are added. Unless Pavone is actually soloing, there are not enough opportunities to fully appreciate this late bloomer's bass playing. Check "Sky Piece" and "Dancers Tales" for the beauty of his tone and "Isobars" for his instinct to swing.

2009-03-02T00:23:09-05:00

4 Beauty of tone and an instinct for swing-that accurately sums up Curtis Lundy on Purpose (Justin Time). The bassist-leader's purpose here is to blend five other like-minded veterans and newcomers. (But it's not a sextet; pianists John Hicks and Andrew Wonsey share the piano bench.) Aside from Wonsey, the other up-and-coming is tenor Mark Shim, a powerhouse player who gets plenty of stretch-out room along with vibist Steve Nelson and drummer Billy Hart. Lundy often plays ostinato figures that provide excellent anchors or launching pads for some heads, as on "Carmen" and particularly his own "Love Transforms," where his ostinato firmly holds together the 5/4, despite an annoying click track. Lundy shows his melodic sensitivity on the jazz waltz "Pas De Trois," from the arco-played intro to his plucked solo. On his own shouter "Blues for J.A." Lundy reveals the sheer joy and power of straightahead walking that conjures up the abandon of Leroy Vinnegar. true 160 2007-06-07T14:05:44-04:00 13490 65 200212 true 0 65 2002-12-01T00:00:00-05:00

Beauty of tone and an instinct for swing-that accurately sums up Curtis Lundy on Purpose (Justin Time). The bassist-leader's purpose here is to blend five other like-minded veterans and newcomers. (But it's not a sextet; pianists John Hicks and Andrew Wonsey share the piano bench.) Aside from Wonsey, the other up-and-coming is tenor Mark Shim, a powerhouse player who gets plenty of stretch-out room along with vibist Steve Nelson and drummer Billy Hart. Lundy often plays ostinato figures that provide excellent anchors or launching pads for some heads, as on "Carmen" and particularly his own "Love Transforms," where his ostinato firmly holds together the 5/4, despite an annoying click track. Lundy shows his melodic sensitivity on the jazz waltz "Pas De Trois," from the arco-played intro to his plucked solo. On his own shouter "Blues for J.A." Lundy reveals the sheer joy and power of straightahead walking that conjures up the abandon of Leroy Vinnegar.

2009-03-02T00:23:09-05:00

4 John Patitucci is smart and broad-minded enough to understand that a bassist-led project doesn't need to prove itself with excessive emphasis on the leader's instrument. That's especially true when the bassist is as creatively bold as Patitucci is, evidenced by his latest CD. Communion is a solid and ambitious package, well-stocked with good, interactive players, including saxophonists Chris Potter, Joe Lovano and Branford Marsalis, drummer Brian Blade and pianists Brad Mehldau and Ed Simon. Patitucci is going for variety of colors here, expanding his composer's voice. On the balladic title track, he writes a supple arrangement for string quartet, and elsewhere leans toward Brazil (as on the engaging, rapid-fire "Choro Luoco," dedicated to Hermeto Pascoal) and other Latin elements (i.e., the catchy, sambaesque "Bariloche"). Over the course of the album, Patitucci shows his commanding approach to both electric and acoustic bass, ending the album with two showcases: a duet version of Mal Waldron's "Soul Eyes" for 6-string electric and Brad Mehldau and a nimble acoustic take on Oscar Pettiford's "Bohemia After Dark" to close the album and bring it back to the realm of jazz-bass legacy. true 34 2007-06-07T14:05:44-04:00 12950 57 200204 true 0 65 2002-04-01T00:00:00-05:00

John Patitucci is smart and broad-minded enough to understand that a bassist-led project doesn't need to prove itself with excessive emphasis on the leader's instrument. That's especially true when the bassist is as creatively bold as Patitucci is, evidenced by his latest CD. Communion is a solid and ambitious package, well-stocked with good, interactive players, including saxophonists Chris Potter, Joe Lovano and Branford Marsalis, drummer Brian Blade and pianists Brad Mehldau and Ed Simon. Patitucci is going for variety of colors here, expanding his composer's voice. On the balladic title track, he writes a supple arrangement for string quartet, and elsewhere leans toward Brazil (as on the engaging, rapid-fire "Choro Luoco," dedicated to Hermeto Pascoal) and other Latin elements (i.e., the catchy, sambaesque "Bariloche"). Over the course of the album, Patitucci shows his commanding approach to both electric and acoustic bass, ending the album with two showcases: a duet version of Mal Waldron's "Soul Eyes" for 6-string electric and Brad Mehldau and a nimble acoustic take on Oscar Pettiford's "Bohemia After Dark" to close the album and bring it back to the realm of jazz-bass legacy.

2009-03-02T00:22:52-05:00

4 Houdini (Sirocco 1014; 59:52), by Buster Williams' Trio is framed by two versions of the title tune, an alternately driving and pensive piece. The first is credited to Williams, pianist Geri Allen and drummer Lenny White, while the closing take is credited to Williams alone. That may indicate some of the porous, collective dynamic in this potent piano trio, in which Allen's playing is notably strong and imaginative, while Williams' sturdy vision shines through. It's a well-balanced song set, between standards like "If I Should Lose You" and "Little Girl Blue" (with Williams taking the melody) and Williams' originals, ranging from the lovely ballad "Bellodgia Diva" to the teasing light swing and hard-bop colors of "Ouija Board," full of the bassist's characteristic nimbleness and verve. Things get especially fiery on their version of Herbie Hancock's increasingly heated "The Sorcerer," and they veer into more ethereal terrain with Wayne Shorter's classic, dreamy ballad "Fall," with Williams' lines tumbling around the landscape like a restless dancer. true 34 2007-06-07T14:05:44-04:00 12951 57 200204 true 0 65 2002-04-01T00:00:00-05:00

Houdini (Sirocco 1014; 59:52), by Buster Williams' Trio is framed by two versions of the title tune, an alternately driving and pensive piece. The first is credited to Williams, pianist Geri Allen and drummer Lenny White, while the closing take is credited to Williams alone. That may indicate some of the porous, collective dynamic in this potent piano trio, in which Allen's playing is notably strong and imaginative, while Williams' sturdy vision shines through. It's a well-balanced song set, between standards like "If I Should Lose You" and "Little Girl Blue" (with Williams taking the melody) and Williams' originals, ranging from the lovely ballad "Bellodgia Diva" to the teasing light swing and hard-bop colors of "Ouija Board," full of the bassist's characteristic nimbleness and verve. Things get especially fiery on their version of Herbie Hancock's increasingly heated "The Sorcerer," and they veer into more ethereal terrain with Wayne Shorter's classic, dreamy ballad "Fall," with Williams' lines tumbling around the landscape like a restless dancer.

2009-03-02T00:22:52-05:00

4 Bassist John Goldsby is one of those respected figures in his field whose name isn't as well known as it should be. Chalk it up to one of the realities of life in jazz, and the jazz-bass world in particular. Goldsby shows plenty of fire and taste on Viewpoint, a sextet date recorded in Germany, where he has been living since 1994 and working as a member of the Cologne Radio Big Band. He includes a shuffle version of "Bohemia After Dark" and an intricate take on Duke Ellington's "Warm Valley." Goldsby's originals seem purposefully diverse, from the aptly named "Brazilian Hat Trick" to the ballad "Sleepy Boys" to the energetic hard-boppish blowout "In the Hills." Throughout, there's an equitable distribution of solo time, but the leader does get his licks in. The CD opens with a version of "I Love Paris," with a bluesy, bowed solo-bass intro, and it closes with a moving solo bass rendition of "The Folks Who Live on the Hill," in which he manages to balance balladic sweetness and muscular chops. true 34 2007-06-07T14:05:44-04:00 12952 57 200204 true 0 65 2002-04-01T00:00:00-05:00

Bassist John Goldsby is one of those respected figures in his field whose name isn't as well known as it should be. Chalk it up to one of the realities of life in jazz, and the jazz-bass world in particular. Goldsby shows plenty of fire and taste on Viewpoint, a sextet date recorded in Germany, where he has been living since 1994 and working as a member of the Cologne Radio Big Band. He includes a shuffle version of "Bohemia After Dark" and an intricate take on Duke Ellington's "Warm Valley." Goldsby's originals seem purposefully diverse, from the aptly named "Brazilian Hat Trick" to the ballad "Sleepy Boys" to the energetic hard-boppish blowout "In the Hills." Throughout, there's an equitable distribution of solo time, but the leader does get his licks in. The CD opens with a version of "I Love Paris," with a bluesy, bowed solo-bass intro, and it closes with a moving solo bass rendition of "The Folks Who Live on the Hill," in which he manages to balance balladic sweetness and muscular chops.

2009-03-02T00:22:52-05:00

4 Chicago-based bassist Marlene Rosenberg handily juggles roles on her album Pieces of.... Now supportive, now stepping forward and intuitively understanding the time and place for each stance, Rosenberg amply shows why she's one of the respected young players. It shouldn't have to be mentioned, but she's also a rarity in the bass orbit-being a she. Rosenberg has a good band to play off of on the session, including pianist Cedar Walton, tenor saxophonist Javon Jackson and drummer George Fludas. The song list leans toward her own inventive tunes, including the quirky swing of the title track, the sultry linear maze of "Round of Deluge" and the, well, bluesy "WWW.blues." The set also includes Walton compositions "Sixth Ave." and "Holy Land," a fine showcase for Rosenberg's melodic gifts. All in all, the album has an organic basscentric nature-not in the sense of Rosenberg seizing control of the date, but of a musical logic that works from the low end upward. true 34 2007-06-07T14:05:44-04:00 false 12953 57 200204 true 0 65 2002-04-01T00:00:00-05:00

Chicago-based bassist Marlene Rosenberg handily juggles roles on her album Pieces of.... Now supportive, now stepping forward and intuitively understanding the time and place for each stance, Rosenberg amply shows why she's one of the respected young players. It shouldn't have to be mentioned, but she's also a rarity in the bass orbit-being a she. Rosenberg has a good band to play off of on the session, including pianist Cedar Walton, tenor saxophonist Javon Jackson and drummer George Fludas. The song list leans toward her own inventive tunes, including the quirky swing of the title track, the sultry linear maze of "Round of Deluge" and the, well, bluesy "WWW.blues." The set also includes Walton compositions "Sixth Ave." and "Holy Land," a fine showcase for Rosenberg's melodic gifts. All in all, the album has an organic basscentric nature-not in the sense of Rosenberg seizing control of the date, but of a musical logic that works from the low end upward.

2009-03-02T00:22:52-05:00

4 Victor Wooten's Live in America is a two-disc demonstration of what this electric bass legend is about. Primarily, he's about thump 'n' slap technique taken to the nth degree, and he's about mixing and matching the genres of funk, jazz and folk traditions. An integral part of Bela Fleck and the Flecktones, on his own Wooten leans more toward the funky side. In Wooten's world, there's always a friendly party going on, and the accent is on pumping grooves. This band is essentially a continuation of the pre-Flecktones group, the Wooten Brothers, with guitarist Regi Wooten and keyboardist Joseph Wooten, who also sings on his own pretty gospel tune "I Dream in Color." Stellar guests show up, including Bootsy Collins on "Are You Ready, Baby?" and Marcus Miller, who offers his more rounded sound in dialogue with Wooten's bright-toned intricacies on the "Miller Time" medley that includes Jaco Pastorius' "Teen Town." Closing the album is a Sly and the Family Stone medley, "If You Want Me to Stay/Thank You (Falletin Me Be Mice Elf Agin)," underscoring the fact that Wooten and brothers are happily extending '70s musical culture, when the electric bass first came into its own. true 34 2007-06-07T14:05:44-04:00 12954 57 200204 true 0 65 2002-04-01T00:00:00-05:00

Victor Wooten's Live in America is a two-disc demonstration of what this electric bass legend is about. Primarily, he's about thump 'n' slap technique taken to the nth degree, and he's about mixing and matching the genres of funk, jazz and folk traditions. An integral part of Bela Fleck and the Flecktones, on his own Wooten leans more toward the funky side. In Wooten's world, there's always a friendly party going on, and the accent is on pumping grooves. This band is essentially a continuation of the pre-Flecktones group, the Wooten Brothers, with guitarist Regi Wooten and keyboardist Joseph Wooten, who also sings on his own pretty gospel tune "I Dream in Color." Stellar guests show up, including Bootsy Collins on "Are You Ready, Baby?" and Marcus Miller, who offers his more rounded sound in dialogue with Wooten's bright-toned intricacies on the "Miller Time" medley that includes Jaco Pastorius' "Teen Town." Closing the album is a Sly and the Family Stone medley, "If You Want Me to Stay/Thank You (Falletin Me Be Mice Elf Agin)," underscoring the fact that Wooten and brothers are happily extending '70s musical culture, when the electric bass first came into its own.

2009-03-02T00:22:52-05:00