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

This is the 1st of your 3 free articles

Become a member for unlimited website access and more.

FREE TRIAL Available!

Learn More

Already a member? Sign in to continue reading

John Patitucci Trio: Remembrance

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.

Who said three’s the charm? There’s a lot to be said for those moments when the John Patitucci Trio isn’t acting alone on Remembrance, an intimate studio session that primarily finds the veteran bassist-composer-bandleader collaborating with reedman Joe Lovano and drummer Brian Blade.

Take “Scenes From an Opera,” for example. It’s a performance that wouldn’t be nearly as evocative or soulful without the inspired input of cellist Sachi Patitucci, the bassist’s wife. Or “Meditations,” one of four arrangements on Remembrance deftly accented by percussionist Rogerio Boccato. Then, too, there’s the album’s title track to consider, a solo homage to the late Michael Brecker that makes haunting use of Patitucci’s six-string electric bass and six-string electric piccolo bass.

Of course, that’s not to say that the teaming of Patitucci, Lovano and Blade doesn’t deliver on its promise. Remembrance may be dedicated to, as Patitucci puts it in his liner notes, “fellow musicians who have inspired us that have recently and not so recently departed this world,” but it’s scarcely a solemn affair. The trio performances capitalize on the ensemble’s great chemistry, each in a different light, starting with the rhythmically and harmonically skewed “Monk/Trane”; the insinuating stroll “Sonny Side,” a splendid showcase for Lovano’s robust and restless tenor; and “Blues for Freddie,” a jaunty postbop salute composed, like all the tunes here, by Patitucci. When it comes to regional flavoring, though, nothing proves tastier than the Boccato-augmented quartet performance of “Messaien’s Gumbo.”

Originally Published

Mike Joyce

A former editor of JazzTimes, Mike Joyce has written extensively on jazz, blues, country, and pop music for The Washington Post, Maryland and Washington, D.C. public television stations, and other outlets.