4 The freedom of solo piano is an exhilarating experience...." So says John Stetch in his notes to Standards (Justin Time), and it has become his ultimate form of self-expression. The Canadian-born pianist possesses an unlimited imagination, unique harmonic and rhythmic conceptions and the digital dexterity to execute any idea he hears. Right now, he's on a self-imposed mission to create a library of solo statements "without being harnessed to the traditional gridwork," and this is the second CD in that venture, the first being Ukrainianism (Justin Time, 2001). Nine of the 10 tracks here are carefully chosen standards. Two Charlie Parker melody lines offer great contrast: the seldom heard "Segment" (aka "Diverse") begins minimally with a one-finger "metronome" on two and four, then goes through cubistic variations before ending in a virtuosic flourish; the second is a playful treatment of "Moose the Mooche," often over a one-finger pedal point, that features not only unison octaves, but a "unison" run half a tone beyond the octave! A jagged left-hand chord pattern runs through "Like Someone in Love," played in 7/4. Unexpected quirks in Stetch's stride succeed in making Monk's "Pannonica" sound noneccentric. A pedal point in the right hand leads to a 6/4 version of "Out of Nowhere," a lilting arrangement that finds the last eight bars of each chorus suddenly thrust into an unexpected key, producing a pleasantly jarring effect. Contrastingly, his reading of "Embraceable You," over unadorned arpeggios, is nearly naive. Jerome Kern himself might not recognize "All the Things You Are." It goes through a rubato chorus with mere hints of melody, and an up chorus with more strident reharmonizing. It ends suddenly with the familiar 3-note "intro" used by boppers. It's that kind of album-heady. true 160 2007-06-07T14:05:44-04:00 13980 72 200309 true 0 77 2003-09-01T00:00:00-04:00

The freedom of solo piano is an exhilarating experience...." So says John Stetch in his notes to Standards (Justin Time), and it has become his ultimate form of self-expression. The Canadian-born pianist possesses an unlimited imagination, unique harmonic and rhythmic conceptions and the digital dexterity to execute any idea he hears. Right now, he's on a self-imposed mission to create a library of solo statements "without being harnessed to the traditional gridwork," and this is the second CD in that venture, the first being Ukrainianism (Justin Time, 2001). Nine of the 10 tracks here are carefully chosen standards. Two Charlie Parker melody lines offer great contrast: the seldom heard "Segment" (aka "Diverse") begins minimally with a one-finger "metronome" on two and four, then goes through cubistic variations before ending in a virtuosic flourish; the second is a playful treatment of "Moose the Mooche," often over a one-finger pedal point, that features not only unison octaves, but a "unison" run half a tone beyond the octave! A jagged left-hand chord pattern runs through "Like Someone in Love," played in 7/4. Unexpected quirks in Stetch's stride succeed in making Monk's "Pannonica" sound noneccentric. A pedal point in the right hand leads to a 6/4 version of "Out of Nowhere," a lilting arrangement that finds the last eight bars of each chorus suddenly thrust into an unexpected key, producing a pleasantly jarring effect. Contrastingly, his reading of "Embraceable You," over unadorned arpeggios, is nearly naive. Jerome Kern himself might not recognize "All the Things You Are." It goes through...

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

4 What we have in Mystic Heights (Sunnyside) is an exercise in tranquillity by Armen Donelian. Simply put, it's a lush, introspective outpouring of eight original ideas, six of which include elegies and homages. No "Enigma Variations," just highly personal sketches. The title track is generally free but at all times gentle. "Ode" is an elegy for one of Donelian's spiritual teachers; "Devotion" is an aptly titled reaction to the playing of saxophonist Joe Lovano; a borrowed motif comes from his most influential piano teacher, Richie Beirach, who helped Donelian fuse his classical and jazz backgrounds. The gossamer bitonality of "Exiled Dreams" is Donelian's goodbye to saxophonist Thomas Chapin, who died in 1998. "Spree" effectively breaks the intense rubato of reflection and gives his left hand a chance to show it is equal to its counterpart. But nowhere in the album is a hint of his colorfully eclectic ethnicity-predominantly Armenian, with added flavors of Turkish and Syrian. true 160 2007-06-07T14:05:44-04:00 13981 72 200309 true 0 77 2003-09-01T00:00:00-04:00

What we have in Mystic Heights (Sunnyside) is an exercise in tranquillity by Armen Donelian. Simply put, it's a lush, introspective outpouring of eight original ideas, six of which include elegies and homages. No "Enigma Variations," just highly personal sketches. The title track is generally free but at all times gentle. "Ode" is an elegy for one of Donelian's spiritual teachers; "Devotion" is an aptly titled reaction to the playing of saxophonist Joe Lovano; a borrowed motif comes from his most influential piano teacher, Richie Beirach, who helped Donelian fuse his classical and jazz backgrounds. The gossamer bitonality of "Exiled Dreams" is Donelian's goodbye to saxophonist Thomas Chapin, who died in 1998. "Spree" effectively breaks the intense rubato of reflection and gives his left hand a chance to show it is equal to its counterpart. But nowhere in the album is a hint of his colorfully eclectic ethnicity-predominantly Armenian, with added flavors of Turkish and Syrian.

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

4 Jessica Williams continues to amaze with her endless versatility on All Alone (MaxJazz). This collection of standards and originals seems to belie her own comment: "I've always wanted to be a musician. Sometimes, all alone, I am." After listening to this CD, one must paraphrase Descartes: "I swing, therefore I am." "As Time Goes By" and "In a Sentimental Mood" contain nods in the direction of Erroll Garner that evolve so naturally after playing her clean single lines over a gentle jazz march. "Warm Valley" is another Ellington gem that should be taken out and aired more often. The same could be said of Irving Berlin's "They Say It's Wonderful": too many pianists consider it a singer's turf. Regarding another Berlin chestnut, "All Alone," Williams decided to have some fun. She takes it as a straight waltz but refuses to stoop to "oom-pah-pah," so there is plenty of split stride. By the fourth chorus, she shows her impatience with the original chords and caps it off with a bit of Monkish mischief. She dabbles in the pentatonic scale in "Toshiko," an original that shows her reverence for her Japanese colleague, Toshiko Akiyoshi. It's a first-rate album that underscores Williams' strengths: technique, harmonic taste and her love for swinging. true 160 2007-06-07T14:05:44-04:00 13982 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Jessica Williams continues to amaze with her endless versatility on All Alone (MaxJazz). This collection of standards and originals seems to belie her own comment: "I've always wanted to be a musician. Sometimes, all alone, I am." After listening to this CD, one must paraphrase Descartes: "I swing, therefore I am." "As Time Goes By" and "In a Sentimental Mood" contain nods in the direction of Erroll Garner that evolve so naturally after playing her clean single lines over a gentle jazz march. "Warm Valley" is another Ellington gem that should be taken out and aired more often. The same could be said of Irving Berlin's "They Say It's Wonderful": too many pianists consider it a singer's turf. Regarding another Berlin chestnut, "All Alone," Williams decided to have some fun. She takes it as a straight waltz but refuses to stoop to "oom-pah-pah," so there is plenty of split stride. By the fourth chorus, she shows her impatience with the original chords and caps it off with a bit of Monkish mischief. She dabbles in the pentatonic scale in "Toshiko," an original that shows her reverence for her Japanese colleague, Toshiko Akiyoshi. It's a first-rate album that underscores Williams' strengths: technique, harmonic taste and her love for swinging.

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

4 Sublime (Telarc) features the art of the duet, as conceived by Geoffrey Keezer, with a little help from his pianist friends-Kenny Barron, Chick Corea, Benny Green and Mulgrew Miller--all dedicated to, in Keezer's own words, "our esteemed elder and musical grandfather, Hank Jones." It's a no-lose format: each guest partners with Keezer twice, and he also has two solo features. All tunes, with one exception, were written by Jones, and bless Telarc for its "audio alert": Keezer is on the left channel; each guest is on the right. What a thoughtful way to determine who has the lead and who's comping. Each track is a jewel. Facets that sparkle particularly bright include the dialog with Barron on "Passing Time"; the lilting jazz waltz "Lullaby," featuring Miller; Green's playful approach to "Hank's Blues"; and Corea's startling contribution on "Intimidation." Keezer's solo tracks, "Angel Face" and "Sublime," are so voluminous, one might think there's a guest on the other keyboard. In essence there is, Hank Jones, and he's the real winner here in his underappreciated role as composer. true 160 2007-06-07T14:05:44-04:00 13983 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Sublime (Telarc) features the art of the duet, as conceived by Geoffrey Keezer, with a little help from his pianist friends-Kenny Barron, Chick Corea, Benny Green and Mulgrew Miller--all dedicated to, in Keezer's own words, "our esteemed elder and musical grandfather, Hank Jones." It's a no-lose format: each guest partners with Keezer twice, and he also has two solo features. All tunes, with one exception, were written by Jones, and bless Telarc for its "audio alert": Keezer is on the left channel; each guest is on the right. What a thoughtful way to determine who has the lead and who's comping. Each track is a jewel. Facets that sparkle particularly bright include the dialog with Barron on "Passing Time"; the lilting jazz waltz "Lullaby," featuring Miller; Green's playful approach to "Hank's Blues"; and Corea's startling contribution on "Intimidation." Keezer's solo tracks, "Angel Face" and "Sublime," are so voluminous, one might think there's a guest on the other keyboard. In essence there is, Hank Jones, and he's the real winner here in his underappreciated role as composer.

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

4 Harold Danko has much to offer on Fantasy Exit (Steeple-Chase) considering his long recording career, his writing and arranging, his instructional books and videos and, since 1998, his perspective on the New York scene from his perch on the faculty of the Eastman College of Music. It all shows on his latest album, recorded in March 2002. His approach to bop is a distillation of academe and the Apple: he swings so intelligently, blending the intellectual with the earthy. His take on Randy Weston's "Hi Fly" is quite original, eschewing the usual staccato march for a gentler, more melodic, straightahead approach, at the same time allowing ample solo space for bassist Michael Formanek and drummer Jeff Hirshfield. Jaki Byard's angular "Mrs. Parker of K.C." is given such a hard bop workout it tends to be void of a tonal center. The title tune is so well integrated, Danko's "comping" often provides counterpoint to Formanek. Danko's search for tunes with challenging changes leads to Gerry Mulligan's "Rocker," with appropriately rocking licks by Hirshfeld. Danko's own "Smoke House," allegedly in 5/4, is so rhythmically detached, it's difficult to find the "one." Harmonically there are oblique hints of "What is This Thing Called Love?"-very oblique. true 160 2007-06-07T14:05:44-04:00 13984 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Harold Danko has much to offer on Fantasy Exit (Steeple-Chase) considering his long recording career, his writing and arranging, his instructional books and videos and, since 1998, his perspective on the New York scene from his perch on the faculty of the Eastman College of Music. It all shows on his latest album, recorded in March 2002. His approach to bop is a distillation of academe and the Apple: he swings so intelligently, blending the intellectual with the earthy. His take on Randy Weston's "Hi Fly" is quite original, eschewing the usual staccato march for a gentler, more melodic, straightahead approach, at the same time allowing ample solo space for bassist Michael Formanek and drummer Jeff Hirshfield. Jaki Byard's angular "Mrs. Parker of K.C." is given such a hard bop workout it tends to be void of a tonal center. The title tune is so well integrated, Danko's "comping" often provides counterpoint to Formanek. Danko's search for tunes with challenging changes leads to Gerry Mulligan's "Rocker," with appropriately rocking licks by Hirshfeld. Danko's own "Smoke House," allegedly in 5/4, is so rhythmically detached, it's difficult to find the "one." Harmonically there are oblique hints of "What is This Thing Called Love?"-very oblique.

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

4 Level Playing Field (Metropolitan) is the debut album for Oklahoma-born pianist Falkner Evans, and hopefully his final offering until he learns something about harmony, how to write an interesting song and, above all, the art of swinging. He's nowhere near ready for primetime. This collection of five Evans originals, a couple of standards and two other forgettable tracks is not even fit for elevator music; perhaps escalators. The CD raises the question: How did bassist Cecil McBee end up in the rhythm section, along with drummer Matt Wilson? Evans drags them down to his own playing-field level. However, McBee doesn't help his own cause with a feeble arco on k.d. lang's "Wash Me Clean." true 160 2007-06-07T14:05:44-04:00 13985 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Level Playing Field (Metropolitan) is the debut album for Oklahoma-born pianist Falkner Evans, and hopefully his final offering until he learns something about harmony, how to write an interesting song and, above all, the art of swinging. He's nowhere near ready for primetime. This collection of five Evans originals, a couple of standards and two other forgettable tracks is not even fit for elevator music; perhaps escalators. The CD raises the question: How did bassist Cecil McBee end up in the rhythm section, along with drummer Matt Wilson? Evans drags them down to his own playing-field level. However, McBee doesn't help his own cause with a feeble arco on k.d. lang's "Wash Me Clean."

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

4 Put four dedicated jazzoids together in a recording studio under the direction of a pianist who has done, seen and played it all, and the result is It's Always You (City Light): Mike Melvoin, Steinway grand; Phil Woods, alto and clarinet; Steve Gilmore, bass; and Bill Goodwin, drums. The CD provides Melvoin with the ideal outlet for his top two talents: playing straightahead, bop-flavored chamber jazz and venting his writing chops. He has six originals here, including the title tune-the quintessential love song-dedicated to his wife, Sandy. That lovely ballad also finds Woods at his lyrical best, a description befitting his clarinet work on the relaxed swinger "I'm Confessin'." Also noted, same cut: Woods' sotto voce backing for Gilmore's finest solo. Other highlights: "But I Have To," Melvoin's humorous response to Monk's call, "Well You Needn't"; Goodwin's brushwork on "I Hear a Rhapsody" and his skill at trading fours with Melvoin on "Easy to Love," a tune marked by the pianist's clever descending reharmonizations; Gilmore's fine solo on Melvoin's charming waltz "This Is the Place"; and, above all, Melvoin, for just showing up. He's one swinger who never met a chord he couldn't embellish. true 160 2007-06-07T14:05:44-04:00 13986 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Put four dedicated jazzoids together in a recording studio under the direction of a pianist who has done, seen and played it all, and the result is It's Always You (City Light): Mike Melvoin, Steinway grand; Phil Woods, alto and clarinet; Steve Gilmore, bass; and Bill Goodwin, drums. The CD provides Melvoin with the ideal outlet for his top two talents: playing straightahead, bop-flavored chamber jazz and venting his writing chops. He has six originals here, including the title tune-the quintessential love song-dedicated to his wife, Sandy. That lovely ballad also finds Woods at his lyrical best, a description befitting his clarinet work on the relaxed swinger "I'm Confessin'." Also noted, same cut: Woods' sotto voce backing for Gilmore's finest solo. Other highlights: "But I Have To," Melvoin's humorous response to Monk's call, "Well You Needn't"; Goodwin's brushwork on "I Hear a Rhapsody" and his skill at trading fours with Melvoin on "Easy to Love," a tune marked by the pianist's clever descending reharmonizations; Gilmore's fine solo on Melvoin's charming waltz "This Is the Place"; and, above all, Melvoin, for just showing up. He's one swinger who never met a chord he couldn't embellish.

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

4 Time for Steve Million to get more national exposure. Long a Chicago fixture, Million's fourth release as leader, Poetic Necessities (Blujazz), shows off his talents as a triple threat: a fine pianist with a feel for the bop idiom; a clever writer, with credit for half of the 10 tunes here; and above all, someone with a sharp sense of programming, countering his originals with tasteful choices, from the seldom-heard "Where Are You?" by Jimmy McHugh and Jerry Goldsmith's "Dark Song" to another rarity, Alec Wilder's "While We're Young," and Million's obvious favorite, Monk, with "Coming on the Hudson." The latter features great support by drummer Tim Davis, with his loping triplets. Million's most swinging statements, as well as bassist Dave Marr's, are heard on Million's "Eat Me Baily," which reveals many Monkish eccentricities. Not surprising, since the title comes from a fictional character with Tourette's syndrome. true 160 2007-06-07T14:05:44-04:00 13987 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Time for Steve Million to get more national exposure. Long a Chicago fixture, Million's fourth release as leader, Poetic Necessities (Blujazz), shows off his talents as a triple threat: a fine pianist with a feel for the bop idiom; a clever writer, with credit for half of the 10 tunes here; and above all, someone with a sharp sense of programming, countering his originals with tasteful choices, from the seldom-heard "Where Are You?" by Jimmy McHugh and Jerry Goldsmith's "Dark Song" to another rarity, Alec Wilder's "While We're Young," and Million's obvious favorite, Monk, with "Coming on the Hudson." The latter features great support by drummer Tim Davis, with his loping triplets. Million's most swinging statements, as well as bassist Dave Marr's, are heard on Million's "Eat Me Baily," which reveals many Monkish eccentricities. Not surprising, since the title comes from a fictional character with Tourette's syndrome.

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

4 Warren Bernhardt's eighth release for DMP, Amelia's Song, is further proof that there ain't no justice. Why, at 65, Bernhardt is still not a household name is unfathomable. This session, with Jay Anderson on acoustic bass and Peter Erskine on drums, is as good as it gets, musically and technically: no gobos, no headphones, no second takes, absolutely no boring moments. The longest track is the title tune, a Bernhardt original, which he hints was channeled through him by his maternal grandma, Amelia. (Long story, as tender as the tune.) Most of the rest are standards, revealing Bernhardt's fertile harmonic thinking, typified by whole stretches of "Polka Dots and Moonbeams" where each separate note is supported by a reharmonized chord. "Boilermaker" and Wayne Shorter's "E.S.P." provide plenty of solo room for Erskine, but he shows better percussive skills on "Desafinado." Fortunately, the amazing Anderson solos on every track. "Boilermaker" lists all three as composers. It seems to evolve freely from a G pedal into a medium-tempo funky swinger. On the whole, slow tempos dominate the session. Bernhardt's lyrical side is his best, as in "Prelude to a Kiss," but when the spirit moves him, as it does on "I Hear a Rhapsody," he can overwhelm you with a torrent of single-note bop flurries. true 160 2007-06-07T14:05:44-04:00 13988 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Warren Bernhardt's eighth release for DMP, Amelia's Song, is further proof that there ain't no justice. Why, at 65, Bernhardt is still not a household name is unfathomable. This session, with Jay Anderson on acoustic bass and Peter Erskine on drums, is as good as it gets, musically and technically: no gobos, no headphones, no second takes, absolutely no boring moments. The longest track is the title tune, a Bernhardt original, which he hints was channeled through him by his maternal grandma, Amelia. (Long story, as tender as the tune.) Most of the rest are standards, revealing Bernhardt's fertile harmonic thinking, typified by whole stretches of "Polka Dots and Moonbeams" where each separate note is supported by a reharmonized chord. "Boilermaker" and Wayne Shorter's "E.S.P." provide plenty of solo room for Erskine, but he shows better percussive skills on "Desafinado." Fortunately, the amazing Anderson solos on every track. "Boilermaker" lists all three as composers. It seems to evolve freely from a G pedal into a medium-tempo funky swinger. On the whole, slow tempos dominate the session. Bernhardt's lyrical side is his best, as in "Prelude to a Kiss," but when the spirit moves him, as it does on "I Hear a Rhapsody," he can overwhelm you with a torrent of single-note bop flurries.

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

4 Remember the name Deanna Witkowski. The 31-year-old New Yorker is not far from jazz stardom with her keyboard techniques, her mastery of exotic time signatures, her imaginative composing and arranging (much of her writing includes sacred music) and her wordless vocalizing. The latter is most impressive on Wide Open Window (Khaeon), her second CD as leader. The title tune is a blues-drenched jazz waltz, allowing for clever interplay between piano and Donny McCaslin's tenor. She takes Cole Porter's "From This Moment On" over a slow Latin beat, blending her voice with McCaslin's soprano sax. The way-up samba "A Rare Appearance" blends wordless voice again, this time with tenor sax. Her blazing straightahead technique comes through on Porter's "Just One of Those Things," with great support from bassist Jonathan Paul and drummer Tom Hipskind. She cleverly fashions bookends from a Chopin etude for a solo version of "You and the Night and the Music," and ends in a heavenly mood, singing "Sanctus," from one of her jazz masses. Remember her name. true 160 2007-06-07T14:05:44-04:00 13989 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Remember the name Deanna Witkowski. The 31-year-old New Yorker is not far from jazz stardom with her keyboard techniques, her mastery of exotic time signatures, her imaginative composing and arranging (much of her writing includes sacred music) and her wordless vocalizing. The latter is most impressive on Wide Open Window (Khaeon), her second CD as leader. The title tune is a blues-drenched jazz waltz, allowing for clever interplay between piano and Donny McCaslin's tenor. She takes Cole Porter's "From This Moment On" over a slow Latin beat, blending her voice with McCaslin's soprano sax. The way-up samba "A Rare Appearance" blends wordless voice again, this time with tenor sax. Her blazing straightahead technique comes through on Porter's "Just One of Those Things," with great support from bassist Jonathan Paul and drummer Tom Hipskind. She cleverly fashions bookends from a Chopin etude for a solo version of "You and the Night and the Music," and ends in a heavenly mood, singing "Sanctus," from one of her jazz masses. Remember her name.

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

4 Don't try these changes at home. On Laszlo Gardony's Ever Before Ever After (Sunnyside) we're dealing with some intellectual approaches to jazz that sound like the pianist (who went from the Bela Bartok Conservatory, in his native Budapest, to Berklee) had enrolled in Coltrane Meets Bartok 101. Those parameters essentially cover Gardony's background: a jazz natural steeped in classical music, very much at home in both music worlds, which translates to incredible technique spread over a highly personal harmonic language. It can be heard immediately as Gardony's two-minute introduction, hinting at "Jeannine," evolves into "Satin Doll," which gives you insight into his reharmonizing talents, as well as the nonstop drive of drummer Yoron Israel and the Eddie Gomez-influenced bassist John Lockwood. On "Stella by Starlight" Gardony becomes increasingly complex with each chorus, as Israel and Lockwood anticipate and match every dynamic rise and fall of Gardony. So does the pianist's near-constant humming. Not surprisingly, Coltrane's "Giant Steps" allows Gardony to wrap himself in the predictable "sheets of sound" at supersonic speed, but, surprisingly, as he builds toward the mother of all climactic choruses, he yields to Israel, who responds with his most intense drum solo. Gardony stays "outside" for "Mockingbird," which builds beautifully and allows Lockwood his finest moments. Paradoxically, the easier-to-understand numbers, "Come With Me" and the title tune, are less interesting, due in part to Gardony's unexpected detours into the milieu of funk and gospel. How strange: when he doesn't intimidate, Gardony tends to sedate. true 160 2007-06-07T14:05:44-04:00 13990 72 200309 true 0 77 2003-09-01T00:00:00-04:00

Don't try these changes at home. On Laszlo Gardony's Ever Before Ever After (Sunnyside) we're dealing with some intellectual approaches to jazz that sound like the pianist (who went from the Bela Bartok Conservatory, in his native Budapest, to Berklee) had enrolled in Coltrane Meets Bartok 101. Those parameters essentially cover Gardony's background: a jazz natural steeped in classical music, very much at home in both music worlds, which translates to incredible technique spread over a highly personal harmonic language. It can be heard immediately as Gardony's two-minute introduction, hinting at "Jeannine," evolves into "Satin Doll," which gives you insight into his reharmonizing talents, as well as the nonstop drive of drummer Yoron Israel and the Eddie Gomez-influenced bassist John Lockwood. On "Stella by Starlight" Gardony becomes increasingly complex with each chorus, as Israel and Lockwood anticipate and match every dynamic rise and fall of Gardony. So does the pianist's near-constant humming. Not surprisingly, Coltrane's "Giant Steps" allows Gardony to wrap himself in the predictable "sheets of sound" at supersonic speed, but, surprisingly, as he builds toward the mother of all climactic choruses, he yields to Israel, who responds with his most intense drum solo. Gardony stays "outside" for "Mockingbird," which builds beautifully and allows Lockwood his finest moments. Paradoxically, the easier-to-understand numbers, "Come With Me" and the title tune, are less interesting, due in part to Gardony's unexpected detours into the milieu of funk and gospel. How strange: when he doesn't intimidate, Gardony tends to sedate.

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

4 The only thing predictable about Steve Kuhn is his unpredictability. On Love Walked In (Sunnyside) he digs playing neglected treasures, such as Duke Jordan's "No Problem"; he will take an overexposed standard, like "Autumn Leaves," and meticulously avoid its melody; he will not only approach the other Duke's "Prelude to a Kiss" as a bossa nova but mischievously infuse its second eight with "'Tis Autumn"; and while you're still pondering that surprise, he confronts Irving Berlin's cornball waltz "All Alone" and morphs it into a way-up, straightahead 4/4. Were it not for Kuhn's dazzling technique and musical intelligence, he might have been outsmarted by Berlin: "All Alone" may hold up in 3/4, but it simply does not "lay well" as a swinger, so Kuhn has some fun with it, interpolating "As Time Goes By," "Goofus" and even part of a Carmen aria. It's that kind of album, made even more enjoyable by the instinctive support of bassist Buster Williams and drummer Bill Stewart. There's no mistaking whose voice is dominant, yet they get enough stretch-out time to effectively display their solo chops, particularly on "You've Changed." But it's their uncanny anticipation of sudden detours by the unpredictable one that turns this session into one of the classiest, best-balanced examples of chamber jazz to come down the pike. Why did it take five years? Kuhn recorded this in New York in 1998, the year it was released in Japan on Venus; Sunnyside, which now has the license, released it to the rest of the planet. true 160 2007-06-07T14:05:44-04:00 13991 72 200309 true 0 77 2003-09-01T00:00:00-04:00

The only thing predictable about Steve Kuhn is his unpredictability. On Love Walked In (Sunnyside) he digs playing neglected treasures, such as Duke Jordan's "No Problem"; he will take an overexposed standard, like "Autumn Leaves," and meticulously avoid its melody; he will not only approach the other Duke's "Prelude to a Kiss" as a bossa nova but mischievously infuse its second eight with "'Tis Autumn"; and while you're still pondering that surprise, he confronts Irving Berlin's cornball waltz "All Alone" and morphs it into a way-up, straightahead 4/4. Were it not for Kuhn's dazzling technique and musical intelligence, he might have been outsmarted by Berlin: "All Alone" may hold up in 3/4, but it simply does not "lay well" as a swinger, so Kuhn has some fun with it, interpolating "As Time Goes By," "Goofus" and even part of a Carmen aria. It's that kind of album, made even more enjoyable by the instinctive support of bassist Buster Williams and drummer Bill Stewart. There's no mistaking whose voice is dominant, yet they get enough stretch-out time to effectively display their solo chops, particularly on "You've Changed." But it's their uncanny anticipation of sudden detours by the unpredictable one that turns this session into one of the classiest, best-balanced examples of chamber jazz to come down the pike. Why did it take five years? Kuhn recorded this in New York in 1998, the year it was released in Japan on Venus; Sunnyside, which now has the license, released it to the rest of the planet.

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