4 It is surprising that there is no applause present after any tune but the last on Kenny Werner's Beat Degeneration (Sunnyside). The CD's seven Werner compositions were selected from nine sets of performances at the Sunside Club in Paris in November 2000, and almost everything on Beat Degeneration is fresh, original, unpredictable and excellent. The levels of creativity from the musicians and interaction between them are very high. It is difficult to determine where composition ends and improvisation begins throughout most of the recording, which should intrigue anyone seeking music with the attributes previously stated. Bassist Johannes Weidenmueller and drummer Ari Hoenig are extremely well suited for Werner's musical sensibility and shift in and out of straight rhythmic support very well in a manner that greatly enhances the music. Hoenig has a fast, light touch, and he's consistently and successfully creative. I began looking for other recordings that include Hoenig after one listen to this one. The paramount performances here include "Little Blue Man," which begins with a clever ostinato bass line, "Trio Imitation," which includes an intro that is almost classical, and the title tune. Only "Guru," where the results (including Werner's grunting) are similar to one of Keith Jarrett's '70s recordings, is not worthy of repeated listening and contemplation. Beat Degeneration is the best record led by or including Werner that I have heard. true 208 2007-06-07T14:05:44-04:00 13576 66 200302 true 0 62 2003-01-01T00:00:00-05:00

It is surprising that there is no applause present after any tune but the last on Kenny Werner's Beat Degeneration (Sunnyside). The CD's seven Werner compositions were selected from nine sets of performances at the Sunside Club in Paris in November 2000, and almost everything on Beat Degeneration is fresh, original, unpredictable and excellent. The levels of creativity from the musicians and interaction between them are very high. It is difficult to determine where composition ends and improvisation begins throughout most of the recording, which should intrigue anyone seeking music with the attributes previously stated. Bassist Johannes Weidenmueller and drummer Ari Hoenig are extremely well suited for Werner's musical sensibility and shift in and out of straight rhythmic support very well in a manner that greatly enhances the music. Hoenig has a fast, light touch, and he's consistently and successfully creative. I began looking for other recordings that include Hoenig after one listen to this one. The paramount performances here include "Little Blue Man," which begins with a clever ostinato bass line, "Trio Imitation," which includes an intro that is almost classical, and the title tune. Only "Guru," where the results (including Werner's grunting) are similar to one of Keith Jarrett's '70s recordings, is not worthy of repeated listening and contemplation. Beat Degeneration is the best record led by or including Werner that I have heard.

2009-03-02T00:23:12-05:00

4 The very accomplished veteran Junior Mance's On the Road (Trio) contains selections from three February 2002 U.K. concert performances. Mance is still in fine form with all of his musical attributes intact. Producer/engineer/bassist Andrew Cleyndert has done well in all functions and the enjoyment he, his U.K. colleague drummer Steve Brown and Mance share in working together is conveyed in the performances. The music is well-executed, but the tunes are too familiar and often too long: "How Insensitive," "Georgia on My Mind" and "Ask Me Now" are more than 10 and a half minutes each, longer than the ideas expressed hold interest. Ray Bryant's "I Don't Care" is a familiar minor blues a la "Equinox," and Mance's "Jubilation" and "Out South" provide proper fatback feel a bit too predictably. Best are an uptempo version of "Broadway" and a sprightly version of Tadd Dameron's "Good Bait." true 208 2007-06-07T14:05:44-04:00 13577 66 200302 true 0 62 2003-01-01T00:00:00-05:00

The very accomplished veteran Junior Mance's On the Road (Trio) contains selections from three February 2002 U.K. concert performances. Mance is still in fine form with all of his musical attributes intact. Producer/engineer/bassist Andrew Cleyndert has done well in all functions and the enjoyment he, his U.K. colleague drummer Steve Brown and Mance share in working together is conveyed in the performances. The music is well-executed, but the tunes are too familiar and often too long: "How Insensitive," "Georgia on My Mind" and "Ask Me Now" are more than 10 and a half minutes each, longer than the ideas expressed hold interest. Ray Bryant's "I Don't Care" is a familiar minor blues a la "Equinox," and Mance's "Jubilation" and "Out South" provide proper fatback feel a bit too predictably. Best are an uptempo version of "Broadway" and a sprightly version of Tadd Dameron's "Good Bait."

2009-03-02T00:23:12-05:00

4 The press release for Mary Lou Williams' Live at the Keystone Korner (High Note) correctly states that there is a dearth of recordings currently available by this major artist. Unfortunately, the recording quality of this 1977 performance is not up to the standards of many other recently released live recordings from this fabled San Francisco venue. Eddie Marshall's drum kit is poorly represented, and bassist Larry Gales is often not in tune with the Korner's piano. Williams' finest compositions are also not included here. The best performances illustrate how strong a pianist Williams was, particularly her own "Gloria," in which the complexity of her two-handed interaction does not in any way diminish the precise, driving swing she attains. The Williams solo feature "The History of Jazz According to Mary Lou," in which she segues from spiritual to drag blues, fast blues, swing and boogie in consistently entertaining fashion, is also first rate. The versions of "A Night in Tunisia," "The Jeep Is Jumpin'," "It Ain't Necessarily So," "I Can't Get Started," "St. Louis Blues," "Stormy Weather," "'Round Midnight" and "Surrey With the Fringe on Top" add nothing to our appreciation of these warhorses or Williams' pianistic artistry, and she and Gales do not appear to be referring to the same chord changes on the latter tune. Gales and Marshall provide proper rhythmic support but never solo. The recording might have benefited from that extra flavor. true 208 2007-06-07T14:05:44-04:00 13578 66 200302 true 0 62 2003-01-01T00:00:00-05:00

The press release for Mary Lou Williams' Live at the Keystone Korner (High Note) correctly states that there is a dearth of recordings currently available by this major artist. Unfortunately, the recording quality of this 1977 performance is not up to the standards of many other recently released live recordings from this fabled San Francisco venue. Eddie Marshall's drum kit is poorly represented, and bassist Larry Gales is often not in tune with the Korner's piano. Williams' finest compositions are also not included here. The best performances illustrate how strong a pianist Williams was, particularly her own "Gloria," in which the complexity of her two-handed interaction does not in any way diminish the precise, driving swing she attains. The Williams solo feature "The History of Jazz According to Mary Lou," in which she segues from spiritual to drag blues, fast blues, swing and boogie in consistently entertaining fashion, is also first rate. The versions of "A Night in Tunisia," "The Jeep Is Jumpin'," "It Ain't Necessarily So," "I Can't Get Started," "St. Louis Blues," "Stormy Weather," "'Round Midnight" and "Surrey With the Fringe on Top" add nothing to our appreciation of these warhorses or Williams' pianistic artistry, and she and Gales do not appear to be referring to the same chord changes on the latter tune. Gales and Marshall provide proper rhythmic support but never solo. The recording might have benefited from that extra flavor.

2009-03-02T00:23:12-05:00

4 Cedar Walton must be regarded as the most accomplished of these pianist leaders. Walton has performed on hundreds of records and written many tunes that entered the standard repertoire or should enter it. There is no shortage of currently available recordings by this master, but Latin Tinge (High Note) provides us with something very different from him. There is more than a tinge of Latin music here; the title could have justifiably been Latin Immersion. The emphasis of the trio is on adhering to proper Latin rhythmic arrangements. Walton's playing is therefore not as florid as we are used to getting from him; he seems to be more concerned with locking in with the rhythm section than in flying above it. The program consists of three of the less familiar Walton originals and the Latin standards "Brazil," "Besame Mucho," "Tres Palabras," "Perfidia," "Serenata" and Jobim's "Triste." The musicians establish a different Latin motif for each tune, which is maintained throughout. Bassist Chucho Martinez receives one brief solo and otherwise accepts the role of mostly delineating the chord by sticking to the root and fifth of each and generally maintaining repeated rhythm figures, but he always does so with big sound and proper feel. Veteran percussionist Ray Mantilla gets more leeway and uses it and the varying instruments in his percussion arsenal with excellent results; the record probably benefits from the absence of traps. true 208 2007-06-07T14:05:44-04:00 13579 66 200302 true 0 62 2003-01-01T00:00:00-05:00

Cedar Walton must be regarded as the most accomplished of these pianist leaders. Walton has performed on hundreds of records and written many tunes that entered the standard repertoire or should enter it. There is no shortage of currently available recordings by this master, but Latin Tinge (High Note) provides us with something very different from him. There is more than a tinge of Latin music here; the title could have justifiably been Latin Immersion. The emphasis of the trio is on adhering to proper Latin rhythmic arrangements. Walton's playing is therefore not as florid as we are used to getting from him; he seems to be more concerned with locking in with the rhythm section than in flying above it. The program consists of three of the less familiar Walton originals and the Latin standards "Brazil," "Besame Mucho," "Tres Palabras," "Perfidia," "Serenata" and Jobim's "Triste." The musicians establish a different Latin motif for each tune, which is maintained throughout. Bassist Chucho Martinez receives one brief solo and otherwise accepts the role of mostly delineating the chord by sticking to the root and fifth of each and generally maintaining repeated rhythm figures, but he always does so with big sound and proper feel. Veteran percussionist Ray Mantilla gets more leeway and uses it and the varying instruments in his percussion arsenal with excellent results; the record probably benefits from the absence of traps.

2009-03-02T00:23:12-05:00

4 Xavier Davis' Innocence of Youth (Fresh Sound New Talent) features seven of his tunes, another by his brother Quincy, Tom Harrell's "Bell" and Miles Davis' "Milestones," an underrecorded bop masterpiece. (Xavier Davis was previously employed by Harrell and Betty Carter, both of whom he recorded with.) Davis has no pianistic shortcomings, uses modern blues ideas very well, is especially strong rhythmically and could rock a house even without a rhythm section. But this CD benefits from the fine contributions of bassist Brandon Owens and drummer E. J. Strickland. The session was excellently recorded and mastered in Barcelona, and the group sounds well rehearsed and dynamic; the members are clearly familiar with one another's phrasing tendencies and use that familiarity to good effect. The group sounds least comfortable with "Milestones" but still delivers a good performance of it, and Davis' compositions provide the listener and players plenty of original material to dig into. true 208 2007-06-07T14:05:44-04:00 13580 66 200302 true 0 62 2003-01-01T00:00:00-05:00

Xavier Davis' Innocence of Youth (Fresh Sound New Talent) features seven of his tunes, another by his brother Quincy, Tom Harrell's "Bell" and Miles Davis' "Milestones," an underrecorded bop masterpiece. (Xavier Davis was previously employed by Harrell and Betty Carter, both of whom he recorded with.) Davis has no pianistic shortcomings, uses modern blues ideas very well, is especially strong rhythmically and could rock a house even without a rhythm section. But this CD benefits from the fine contributions of bassist Brandon Owens and drummer E. J. Strickland. The session was excellently recorded and mastered in Barcelona, and the group sounds well rehearsed and dynamic; the members are clearly familiar with one another's phrasing tendencies and use that familiarity to good effect. The group sounds least comfortable with "Milestones" but still delivers a good performance of it, and Davis' compositions provide the listener and players plenty of original material to dig into.

2009-03-02T00:23:12-05:00

4 Dutch pianist Peter Beets cites several great pianists as influences in the liner notes to New York Trio (Criss Cross), but the influence of Cedar Walton and Bud Powell are most discernable here. The song forms of the six originals and three standards are very familiar, but Beets invigorates virtually all of them; the version of Irving Berlin's "Best Thing for You" is the finest instrumental rendition of this tune that I can recall, and the tempo shifts in Jerome Kern's "The Way You Look Tonight" are delightful. Drummer Willie Jones III is consistently good throughout, and bassist Rodney Whitaker contributes a virtuoso performance. Much of the recording succeeds in the manner of another Bud Powell-influenced European pianist's great trio recordings, those of Tete Montoliu with Niels-Henning Orsted Pedersen and Tootie Heath. It cannot be said that Beets and company are directly influenced by these recordings, but the performances here are reminiscent of them in that a great deal of elan is brought to standard forms that should please even the jaded listener. Only the pedestrian tune closing the recording, "Blues for the Apple," fails to achieve this level of quality. true 208 2007-06-07T14:05:44-04:00 false 13581 66 200302 true 0 62 2003-01-01T00:00:00-05:00

Dutch pianist Peter Beets cites several great pianists as influences in the liner notes to New York Trio (Criss Cross), but the influence of Cedar Walton and Bud Powell are most discernable here. The song forms of the six originals and three standards are very familiar, but Beets invigorates virtually all of them; the version of Irving Berlin's "Best Thing for You" is the finest instrumental rendition of this tune that I can recall, and the tempo shifts in Jerome Kern's "The Way You Look Tonight" are delightful. Drummer Willie Jones III is consistently good throughout, and bassist Rodney Whitaker contributes a virtuoso performance. Much of the recording succeeds in the manner of another Bud Powell-influenced European pianist's great trio recordings, those of Tete Montoliu with Niels-Henning Orsted Pedersen and Tootie Heath. It cannot be said that Beets and company are directly influenced by these recordings, but the performances here are reminiscent of them in that a great deal of elan is brought to standard forms that should please even the jaded listener. Only the pedestrian tune closing the recording, "Blues for the Apple," fails to achieve this level of quality.

2009-03-02T00:23:12-05:00

4 The Boston-based Sai Ghose Trio's second recording, Fingers and Toes (Summit), contains the best cover photograph of any of these, a touching picture of the foot of a baby cradled between the thumb and forefinger of an adult. The titles of the seven original tunes by Ghose on the record are all related to the recent birth of Ghose's son. The first tune, "The Changing Table," is the best on the recording, primarily due to a fascinating vamp in odd meter that the tune goes in and out of. The group also executes segues in and out of typical meter well on "Fingers and Toes," the other standout original here. The remaining originals are pleasant and well-performed, especially with regard to rhythmic arrangement and with a good group feel, but without the virtuosity found on other recordings in this batch. The aural representation of the instruments reinforces this: There is not as much separation between the instruments, and the resulting image is of Ghose in the forefront and drummer Mike Connors and bassist Jerry Wilfong together in the background. There are two standards included on Fingers and Toes, "You Don't Know What Love Is" and "Green Dolphin Street," but neither is as interesting as the group's performances on the originals. true 208 2007-06-07T14:05:44-04:00 13582 66 200302 true 0 62 2003-01-01T00:00:00-05:00

The Boston-based Sai Ghose Trio's second recording, Fingers and Toes (Summit), contains the best cover photograph of any of these, a touching picture of the foot of a baby cradled between the thumb and forefinger of an adult. The titles of the seven original tunes by Ghose on the record are all related to the recent birth of Ghose's son. The first tune, "The Changing Table," is the best on the recording, primarily due to a fascinating vamp in odd meter that the tune goes in and out of. The group also executes segues in and out of typical meter well on "Fingers and Toes," the other standout original here. The remaining originals are pleasant and well-performed, especially with regard to rhythmic arrangement and with a good group feel, but without the virtuosity found on other recordings in this batch. The aural representation of the instruments reinforces this: There is not as much separation between the instruments, and the resulting image is of Ghose in the forefront and drummer Mike Connors and bassist Jerry Wilfong together in the background. There are two standards included on Fingers and Toes, "You Don't Know What Love Is" and "Green Dolphin Street," but neither is as interesting as the group's performances on the originals.

2009-03-02T00:23:12-05:00

4 Greg Burk's Checking In (Soul Note) consists of 10 of the pianist's compositions and includes veteran drummer Bob Moses and bassist Jon Robinson. Burk's pianistic style is personal and generally does not display obvious influences, although the opener "Sun Up" is Tynerish and "Acorn Yellow" has an introductory bass line similar to Chick Corea's "Sea Journey." Burk's performances here show that he has a genuine melodic sense without reference to Tin Pan Alley and show tune melodic tendencies, and "6 Ways" and "Serena" are particularly lyrical and expressive. Comments by Burk in the liner notes suggest that the compositions were not rehearsed prior to the recording session and that some of them were written during it. The results mostly benefit from this spontaneity-the musicians seem alert and interactively creative, listeners are kept on their toes and the vast majority of the music coheres and is fresh and worthwhile. However, very abrupt fadeouts on some tunes suggest that good results from this method are not always easy to maintain, and both "Tutto Nudo" and "Ascent to the Strawberry Patch" fail to rise above '60s free-jazz cliches. The rest of the recording is very worthwhile, however. true 208 2007-06-07T14:05:44-04:00 13583 66 200302 true 0 62 2003-01-01T00:00:00-05:00

Greg Burk's Checking In (Soul Note) consists of 10 of the pianist's compositions and includes veteran drummer Bob Moses and bassist Jon Robinson. Burk's pianistic style is personal and generally does not display obvious influences, although the opener "Sun Up" is Tynerish and "Acorn Yellow" has an introductory bass line similar to Chick Corea's "Sea Journey." Burk's performances here show that he has a genuine melodic sense without reference to Tin Pan Alley and show tune melodic tendencies, and "6 Ways" and "Serena" are particularly lyrical and expressive. Comments by Burk in the liner notes suggest that the compositions were not rehearsed prior to the recording session and that some of them were written during it. The results mostly benefit from this spontaneity-the musicians seem alert and interactively creative, listeners are kept on their toes and the vast majority of the music coheres and is fresh and worthwhile. However, very abrupt fadeouts on some tunes suggest that good results from this method are not always easy to maintain, and both "Tutto Nudo" and "Ascent to the Strawberry Patch" fail to rise above '60s free-jazz cliches. The rest of the recording is very worthwhile, however.

2009-03-02T00:23:12-05:00

4 Brazilian pianist Age Garcia recently moved to South Florida, where he recorded Alabastro (Golden Dome), which consists of 10 of his compositions. The performances are short, from 3:16 to 4:52. There is minimal jazz content here and little interaction between Garcia and bassist David Wertman and drummer/percussionist Neal Backman. Garcia's piano dominates the proceedings-there is only one bass solo and there are no drum solos-and his tunes are somewhat reminiscent of Vince Guaraldi's but without Guaraldi's melodic hooks. (It is possible that a lyricist could use "So Far" and "Mirra" to create good songs for a vocalist.) Alabastro is short, sketchy, contains little variety or use of dynamics and no virtuosity and might appeal more to smooth jazz enthusiasts or people seeking unobtrusive background music than to hard-core jazz fans. true 208 2007-06-07T14:05:44-04:00 13584 66 200302 true 0 62 2003-01-01T00:00:00-05:00

Brazilian pianist Age Garcia recently moved to South Florida, where he recorded Alabastro (Golden Dome), which consists of 10 of his compositions. The performances are short, from 3:16 to 4:52. There is minimal jazz content here and little interaction between Garcia and bassist David Wertman and drummer/percussionist Neal Backman. Garcia's piano dominates the proceedings-there is only one bass solo and there are no drum solos-and his tunes are somewhat reminiscent of Vince Guaraldi's but without Guaraldi's melodic hooks. (It is possible that a lyricist could use "So Far" and "Mirra" to create good songs for a vocalist.) Alabastro is short, sketchy, contains little variety or use of dynamics and no virtuosity and might appeal more to smooth jazz enthusiasts or people seeking unobtrusive background music than to hard-core jazz fans.

2009-03-02T00:23:12-05:00

4 On Sept. 23, 1997, which would have been John Coltrane's 71st birthday, McCoy Tyner took the stage at the Village Vanguard with bassist George Mraz and drummer Al Foster. Four years later, we have the results: McCoy Tyner Plays John Coltrane (Impulse 3134 589 183-2; 66:28), which documents a brilliant evening of music. Tyner's playing has evolved considerably over his career, but is still very much in the moment: his vocabulary includes a greater number of rich chords these days, as well as the probing fourths and fifths that open up spaces for hard-edged, sleeting runs in the upper reaches of the keyboard, as on the anthemic "Afro Blue." Mraz and Foster are simply perfect, with the former proving himself over and over one of the most thoughtful bass soloists of his time, sometimes ending a phrase with a bebop lick that seems a sort of nod to his forebears; the rousing "Mr.Day" holds incontrovertible evidence. true 3 2007-06-07T14:05:44-04:00 12772 55 200202 true 0 62 2002-01-01T00:00:00-05:00

On Sept. 23, 1997, which would have been John Coltrane's 71st birthday, McCoy Tyner took the stage at the Village Vanguard with bassist George Mraz and drummer Al Foster. Four years later, we have the results: McCoy Tyner Plays John Coltrane (Impulse 3134 589 183-2; 66:28), which documents a brilliant evening of music. Tyner's playing has evolved considerably over his career, but is still very much in the moment: his vocabulary includes a greater number of rich chords these days, as well as the probing fourths and fifths that open up spaces for hard-edged, sleeting runs in the upper reaches of the keyboard, as on the anthemic "Afro Blue." Mraz and Foster are simply perfect, with the former proving himself over and over one of the most thoughtful bass soloists of his time, sometimes ending a phrase with a bebop lick that seems a sort of nod to his forebears; the rousing "Mr.Day" holds incontrovertible evidence.

2009-03-02T00:22:46-05:00

4 LeeAnn Ledgerwood believes that her life changed when, at age 11, she first heard a Bill Evans recording. She dedicates Paradox (SteepleChase SCCD 31497; 64:45), her fifth release as leader, to Evans. That gesture seems fitting: she has a full conception of her material, realized with left and right hands in full partnership. Full partners as well are her rhythm-mates, bassist Ron McClure and drummer Billy Hart. McClure is there with the one when it's needed, and is just as apposite in suspending his stride to support the pianist. Hart delivers a master class in the variety of ways in which a drummer can propel a trio: mallet splashes, cymbal songs and simple, steady figures-they're all part of his game. Outstanding readings of two Coltrane tunes, "Wise One" and "India," and Bernstein's "Some Other Time" are particularly noteworthy. true 3 2007-06-07T14:05:44-04:00 12773 55 200202 true 0 62 2002-01-01T00:00:00-05:00

LeeAnn Ledgerwood believes that her life changed when, at age 11, she first heard a Bill Evans recording. She dedicates Paradox (SteepleChase SCCD 31497; 64:45), her fifth release as leader, to Evans. That gesture seems fitting: she has a full conception of her material, realized with left and right hands in full partnership. Full partners as well are her rhythm-mates, bassist Ron McClure and drummer Billy Hart. McClure is there with the one when it's needed, and is just as apposite in suspending his stride to support the pianist. Hart delivers a master class in the variety of ways in which a drummer can propel a trio: mallet splashes, cymbal songs and simple, steady figures-they're all part of his game. Outstanding readings of two Coltrane tunes, "Wise One" and "India," and Bernstein's "Some Other Time" are particularly noteworthy.

2009-03-02T00:22:46-05:00

4 The trio provides a haven for many of the music's creativity addicts, among whom we are sure to find Andy LaVerne. His latest work, Know More (SteepleChase SCCD 31493; 66:36), is by turns thoughtful, thunderous, sly, touching. LaVerne wrings all one can out of this trio, which includes bassist Jay Anderson and, once again, the nonpareil Billy Hart on drums. LaVerne finds his own way through the changes, whether he's put them together, as with the title track, or borrowed from the likes of "Stella by Starlight," as he does for his "Fire Wire." "Sudden Wealth Syndrome" is a powerful, Traneish work, with yet another wonderfully articulate Hart solo. "Where and When" is a particularly poignant ballad, with LaVerne's liquid phrasing bringing it home. "Waltz King" is a fine example of trioism with its fickle time signatures and teasing ambiguities. true 3 2007-06-07T14:05:44-04:00 12774 55 200202 true 0 62 2002-01-01T00:00:00-05:00

The trio provides a haven for many of the music's creativity addicts, among whom we are sure to find Andy LaVerne. His latest work, Know More (SteepleChase SCCD 31493; 66:36), is by turns thoughtful, thunderous, sly, touching. LaVerne wrings all one can out of this trio, which includes bassist Jay Anderson and, once again, the nonpareil Billy Hart on drums. LaVerne finds his own way through the changes, whether he's put them together, as with the title track, or borrowed from the likes of "Stella by Starlight," as he does for his "Fire Wire." "Sudden Wealth Syndrome" is a powerful, Traneish work, with yet another wonderfully articulate Hart solo. "Where and When" is a particularly poignant ballad, with LaVerne's liquid phrasing bringing it home. "Waltz King" is a fine example of trioism with its fickle time signatures and teasing ambiguities.

2009-03-02T00:22:46-05:00

4 Eldar (D&D DDT 2001; 58:38) is not strictly piano trio, since a few tracks are solo piano. But let's cut Eldar Djangirov some slack: he's just a kid, after all. That said, he's a pretty fine pianist for a 14-year-old. No, really. Granted, he has some growing to do, musically (for the rest, I can't speak). But in all fairness, Djangirov has huge talent; prodigious, in fact. To put this young player in perspective is to admire his technical facility and his sense of the way the elements of music interact in jazz, and to look forward to a loosening of his grasp on musical time. He has written some solid tunes for his recorded debut- the wistful "Meetings and Partings" in particular-though on occasion his writing seems driven by his virtuosity, and flourish overtakes fit and finish, as on "In the Haze." His arrangements, similarly, can get too busy: Monk's "Well, You Needn't" and Shorter's "Footprints" both bruise a bit in this regard. Bassist Gerald Spaits and drummer Todd Strait do all that is asked of them-and that's quite a bit, given the arrangements and some of the tempi. true 3 2007-06-07T14:05:44-04:00 12775 55 200202 true 0 62 2002-01-01T00:00:00-05:00

Eldar (D&D DDT 2001; 58:38) is not strictly piano trio, since a few tracks are solo piano. But let's cut Eldar Djangirov some slack: he's just a kid, after all. That said, he's a pretty fine pianist for a 14-year-old. No, really. Granted, he has some growing to do, musically (for the rest, I can't speak). But in all fairness, Djangirov has huge talent; prodigious, in fact. To put this young player in perspective is to admire his technical facility and his sense of the way the elements of music interact in jazz, and to look forward to a loosening of his grasp on musical time. He has written some solid tunes for his recorded debut- the wistful "Meetings and Partings" in particular-though on occasion his writing seems driven by his virtuosity, and flourish overtakes fit and finish, as on "In the Haze." His arrangements, similarly, can get too busy: Monk's "Well, You Needn't" and Shorter's "Footprints" both bruise a bit in this regard. Bassist Gerald Spaits and drummer Todd Strait do all that is asked of them-and that's quite a bit, given the arrangements and some of the tempi.

2009-03-02T00:22:46-05:00

4 There is a wonderful clarity to Reminiscing (Delmark DE-531; 59:22), from the Jodie Christian trio. Christian, a virtual institution in Chicago, has assembled a program of tunes that tie back to specific memories of his career and childhood. At times the program has an almost narrative flow: Christian's nuanced solo "Chicago Delta Blues," dedicated to his father, leads into "Love Walked In," leading in turn to an appealingly intimate "Embraceable You" and a great arrangement of "You Are So Beautiful," built around a stop-time device that gives it gut-level appeal. The CD opens with a madly careening take on "How Insensitive" that is anything but. Christian works here with bassist Dennis Carroll and drummer Tony Walton; their support is impeccable. This is a very satisfying self-portrait from a pianist who refuses to be bounded by style. true 3 2007-06-07T14:05:44-04:00 12776 55 200202 true 0 62 2002-01-01T00:00:00-05:00

There is a wonderful clarity to Reminiscing (Delmark DE-531; 59:22), from the Jodie Christian trio. Christian, a virtual institution in Chicago, has assembled a program of tunes that tie back to specific memories of his career and childhood. At times the program has an almost narrative flow: Christian's nuanced solo "Chicago Delta Blues," dedicated to his father, leads into "Love Walked In," leading in turn to an appealingly intimate "Embraceable You" and a great arrangement of "You Are So Beautiful," built around a stop-time device that gives it gut-level appeal. The CD opens with a madly careening take on "How Insensitive" that is anything but. Christian works here with bassist Dennis Carroll and drummer Tony Walton; their support is impeccable. This is a very satisfying self-portrait from a pianist who refuses to be bounded by style.

2009-03-02T00:22:46-05:00

4 It doesn't sound as if there were too many in the audience when the Jim Ridl trio recorded Live (Dreambox DMJ-1055; 66:02). That's a shame, because those who came out two years ago heard a very hard-working trio deliver a satisfying performance. Ridl's style isn't easy to categorize: he can play vertical games, even as he sets up a well-articulated, fine line through some of the challenging harmonic courses he crafts for himself. "First Rose" is a thorny structure whose progression seems to wring whole-tone scalar figures out of the piano. Ridl reworks both "Caravan" and "Cherokee" into wide-open frameworks that give him, bassist Steve Varner and drummer Jim Miller plenty of stretching room. This is a trio that takes lots of chances, and delivers handsomely most of the time. true 3 2007-06-07T14:05:44-04:00 12777 55 200202 true 0 62 2002-01-01T00:00:00-05:00

It doesn't sound as if there were too many in the audience when the Jim Ridl trio recorded Live (Dreambox DMJ-1055; 66:02). That's a shame, because those who came out two years ago heard a very hard-working trio deliver a satisfying performance. Ridl's style isn't easy to categorize: he can play vertical games, even as he sets up a well-articulated, fine line through some of the challenging harmonic courses he crafts for himself. "First Rose" is a thorny structure whose progression seems to wring whole-tone scalar figures out of the piano. Ridl reworks both "Caravan" and "Cherokee" into wide-open frameworks that give him, bassist Steve Varner and drummer Jim Miller plenty of stretching room. This is a trio that takes lots of chances, and delivers handsomely most of the time.

2009-03-02T00:22:46-05:00

4 Summer Night (Naxos Jazz 86071-2; 50:38) finds Sarah Jane Cion in very good company, with bassist Phil Palombi and this column's recurring drummer, Billy Hart. There is a formal elegance to Cion's playing that gives these performances an engaging smoothness. Not that this is smooth jazz: pieces like "Stage One," with its aggressive ensemble theme, have far more energy and authenticity than that category can handle. Smooth here means no loose ends, no unresolved questions. There are plenty of variations on Summer Night, plenty of inflection, but the essential nature of the recording is placid, even with the musings of Michael Brecker's tenor on a "Summer Night" full of anticipation, and the almost elegiac "Prisoner of War." Cion's writing is in many respects the better part of her program: though her technique apparently gives her ideas full access to the keyboard, greater dynamic range and more risk-taking may figure in as her style matures further. true 3 2007-06-07T14:05:44-04:00 12778 55 200202 true 0 62 2002-01-01T00:00:00-05:00

Summer Night (Naxos Jazz 86071-2; 50:38) finds Sarah Jane Cion in very good company, with bassist Phil Palombi and this column's recurring drummer, Billy Hart. There is a formal elegance to Cion's playing that gives these performances an engaging smoothness. Not that this is smooth jazz: pieces like "Stage One," with its aggressive ensemble theme, have far more energy and authenticity than that category can handle. Smooth here means no loose ends, no unresolved questions. There are plenty of variations on Summer Night, plenty of inflection, but the essential nature of the recording is placid, even with the musings of Michael Brecker's tenor on a "Summer Night" full of anticipation, and the almost elegiac "Prisoner of War." Cion's writing is in many respects the better part of her program: though her technique apparently gives her ideas full access to the keyboard, greater dynamic range and more risk-taking may figure in as her style matures further.

2009-03-02T00:22:46-05:00