Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

David Berkman: Old Friends and New Friends

David Berkman should be more famous. In a jazz world where everyone wants to be a composer, Berkman was born one. He is a natural. The nine tunes here are new, but like all good songs, they sound like they have always been there. “Tribute,” for Tom Harrell, moves with its own slanting, sideways step, always toward unfamiliar lyricism. “Past Progressive” and “West 180th Street” are quietly passionate, encompassing melodies. You do not so much listen to them as let them wash over you.

Bassist Linda Oh and drummer Brian Blade are a sophisticated, volatile rhythm team. Adam Kolker, Dayna Stephens and Billy Drewes play five different reed instruments. Berkman’s piano flows through everything, in bright streams of intelligence. The solo firepower is formidable. “Tribute” contains a looping soprano saxophone effusion by Kolker and a halting, suspenseful tenor foray by Stephens. On “No Blues No Really No Blues,” Drewes leads on alto but Kolker and Stephens are a choir of counterlines all around him. On “Deep High Wide Sky” and “Up Jumped Ming,” Stephens, on tenor, is loose, powerful and personal. On “Past Progressive,” three saxophones rotate, more intense with each turn. Oh, as articulate as any horn player, also gets major solo space.

Start Your Free Trial to Continue Reading

Become a JazzTimes member to explore our complete archive of interviews, profiles, columns, and reviews written by music's best journalists and critics.
Originally Published