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Michael J. Renner, Jazz Series Review (St. Louis)

Once again, it's time to sample a few -- nine to be precise -- of the more
interesting recordings that arrived during 2003. I know there's plenty of other
good stuff out there, but these entries, mind you, are the recordings that I
found myself returning to over and over again. Some were quirky and ethereal,
with haunting melodies that never failed to intrigue; some were new takes on
very familiar material; others still are just plain exciting straight-ahead
blowing sessions. And, of course, any self-respecting review must include one
holiday recording just to get us in the mood.

The Straight Ahead Sessions:

Ted Nash, Still Evolved (Palmetto Records). This recording could have
easily taken the pedestrian route, relying on the name recognition of such
heavy hitters as trumpeters Wynton Marsalis and Marcus Printup, drummer Matt
Wilson, bassist Ben Allison and pianist Frank Kimbrough. But, the label didn't
dictate the "all-star" line-up simply to boost sales. Tenor saxophonist Nash
merely elicited the help of colleagues with whom he regularly plays: Those
familiar with Nash might be surprised, but the leader of this date and Marsalis hit
it off after the latter had invited the former to play in his house -- Lincoln
Center -- about a year ago. Meanwhile, trumpeter Printup is also a
near-mainstay at jazz's most famous institution. The others heard here record and perform
together frequently, operating as a kind of association known as the Jazz
Composers Collective. During the course of Still Evolved's eight original
tunes, Nash and his colleagues explore the basics of hard-blowing,
straight-ahead jazz without the stock-n-standard repertory feel of many newer recordings.
Marsalis has been making a genuine attempt the past two years to at least try
and get out from under his administrative-academic label and it seems to be
paying off. He is in fine form here on four tunes (including the beautiful
ballad "Bells of Brescia"), while Printup, a younger member of the post-Wynton
trumpeter brigade, is no slouch on the other four selections. Wilson's stock has
been rising steadily the past three years or so and he is now recognized as
one of the key drummers of the day; he and Allison, who know each other oh so
well, are fluid enough to provide both muscle and softness when needed. In the
end, Nash has issued one overall satisfying effort.

Jaco Pastorius Big Band, Word of Mouth Revisited (Heads Up). Jaco
Pastorius changed the role of the electric bass in jazz, expanding its boundaries
beyond funk and R&B. The manic-depressive *BASSIST received legendary status
-- or near-legendary status anyway -- particularly after commiting suicide. On
this tribute recording, trombonist/conductor Peter Graves, who first hired
Pastorius in 1971, has assembled nine electric bassists, including Pastorius' son
David, to pay homage to the late bassist. Among the other bottom enders heard
here: Victor Bailey, Richard Bona, Jeff Carswell, Jimmy Haslip, Christian
McBride, Marcus Miller, Gerald Veasely and Victor Wooten. With the exception of
McBride, and he is now out there electrically with such artists as Pat Metheny,
it's a true cross-over and fusion convention. Meanwhile, full brass, woodwind
and rhythm sections round out the line-up. The band even plays along with
Pastorious on Herbie Hancock's "Wiggle Waggle" (using a previously unrecorded
track of the bassist soloing). Other notable selections on this collection
include: "Forgotten Love" which features McBride, "Teen Town" which stars Wooten
and "Punk Jazz Revisited" which showcases Miller.

New Interpretations:

Greg Osby, St. Louis Shoes (Blue Note). From the always innovative
alto saxophonist who delights us with his highly original efforts comes this,
dare I say it, "accessible" recording of other people's tunes. That's surprising
in and of itself, but then the cerebral-sounding Osby has recruited trumpeter
Nicholas Payton, a headliner in his own right known for his traditional warm
tone, as a regular member of his new quintet. Still, here's the payoff: the
presentation works. It's fair to say St. Louis Shoes stands as Osby's look
back at his St. Louis roots -- when the now 43-year-old altoist played in R&B
and funk bands. As he stated in a June 2003 Jazz Times interview, "(This
recording) chronicles my journey from this young curious guy, ambitious guy in St.
Louis through whatever I had to do to get to now." Ellington's "East St.
Louis Toodle-Oo" and W.C. Handy's "St. Louis Blues" serve as bookends between
standards such as "Shaw Nuff'," "Summertime" and "Milton on Ebony," a morphing of
two of drummer Jack DeJohnette's tunes: "Milton" and "Ebony." Still, you have
to realize "standards" to someone of Osby's ilk doesn't mean mere recitation
and reverence. As such, each performance here is full of punchy, biting playing
and shimmering solos. "Summertime" on its own should set a new standard.

Marty Ehrlich, Line on Love (Palmetto Records). Here's another St.
Louis native with a surprisingly "accessible" recording. For decades the alto
saxophonist/clarinetist has mined the depths of creative music, blending jazz and
classical influences; sometimes challenging, sometimes dark and morose, but
always richly satisfying. As a quartet, pianist Craig Taborn, bassist Michael
Formanek and drummer Billy Drummond bring group interplay to a new level. From
the reverential "Hymn" to the more traditional jazz sound of "Like I Said" to
the hauntingly romantic title tune, Ehrlich & Co. are unpredictable and
continually inventive. It's worth noting as an aside that the shorter piece, "St. Lou
is Summer," elicits memories of Ehrlick's time spent in the late 1960s when
he, like many, were influenced by the Black Artists Group (BAG), a group of
musicians, poets theater-types and dancers who modeled their collaborations and
attitude after the already established AACM, the Chicago-based Association for
the Advancement of Creative Musicians.

Van Morrison, What's Wrong With This Picture? (Blue Note). If you're
like anyone else involved with jazz, you're probably asking the exact question
everyone else did at the time of this release: Van the Man on Blue Note
Records, the most revered of jazz labels? Yep, it's true. Morrison does here what
he's always done: swing, jump 'n' jive and "work it out" with bluesy, "jazzy"
groove complete with horns, strings and a Hammond B-3 organ. Morrison penned 11
of the 13 songs, including the jaunty "Evening in June," the blues-drenched
"Too Many Myths" and the slow, greasy "Goldfish Bowl," where he sings: "I'm
singing jazz, blues and funk/baby that's not rock and roll." Where Morrison goes
with this -- like on tour, maybe? -- no one really knows. He probably doesn't
even know. Nonetheless, with the inclusion of "Tell Me Something" (dedicated
to singer Mose Allison) and "How Long Has This Been Going On" (dedicated to
Georgie Flame, another English rocker who, of late, has tried his hand at jazz).
What's Wrong With This Picture? is a solid addition to Morrison's
other jazz-inspired efforts.

The Quirky or Ethereal Sessions:

Lotz of Music, Pum'kin Diaries (Random Chance Records). You gotta hand
it to those Dutch jazz musicians. They have such a distinctive way of
interpretation, instrumentation and timing. Must be all those long, cold nights.
Flutist Mark Alban Lotz has produced one of the more oddly gorgeous recordings
I've listened to this year. His take on classic tunes such as Sonny Rollins'
"Oleo," Ornette Coleman's "Blues Connotation" or Lee Kontiz's "It's You" are
inspired readings firmly grounded in tradition, but with a slightly fractured edge
-- like looking through a lens with a bubble in it. Michael Moore's "Eth."
plods along at a haunting pace (with Lotz's PVC contra bass flute setting the
tone) while another Moore composition, "Franz," incorporates the hypnotic effect
of a glass organ. The longest tune on the CD, "Pygmy Lounge" at 9:59, uses
the ambient sounds recorded in a pygmy village just after rainfall. Here the
quartet improvises using those sounds as a backdrop, transporting us well beyond
the confines of our expectations. Too cool.

Tord Gustavsen Trio, Changing Places (ECM). Pianist Tord Gustavsen's
debut ECM recording is quiet, introspective and coolly melodic, without the
dysphoria attached to some Scandinavian artists. In fact, the 13 original tunes
are strangely uplifting. I found myself reaching for this compact disc at
different times: late night with headphones, a long drive with the sunroof open or
cranked up while cooking. He dubs it the "dialectical eroticism of
improvisation." I don't know about all that, but with each listening something new
emerged, which is the seductive quality of Gustavsen's understated, multi-layered
and even romantic style. Harald Johnsen's bass lines sing with a plumy richness
while drummer Jarle Vespestad's sparse accents and brushings are a far cry
from the frenetic pace he keeps as a member of the Norwegian noise-rock group,
Supersilent.

Ken Schaphorst, Indigenous Technology (Accurate Records). Another
excellent recording from the Cambridge-based Accurate label, whose founder, Russ
Gershon, fronts the the Either/Orchestra. In fact Schaphorst was a kind of
unofficial member of E/O at one time and part of the same group of musicians that
includes John Medeski, E/O's original pianist. Residing somewhere between
"new" music, jazz and minimalism, this trio (Schaphorst on trumpet, flugelhorn and
piano; Dane Richeson on marimba and percussion; and Matt Turner on cello),
weaves its way through 13 compositions that are not simply original as creations
but truly original as forms of expression. I'm a complete sucker for the
woody, organic tones of the marimba and Richeson is featured prominently. The
title tune uses a blues-based melody to hook us before freefalling into improvised
segment of percussive frolic (was that a rubber duck I heard quacking?). The
trio then restates the blues riff, making us smile at such mirth. Go ahead,
stretch yourself . . . isn't that what improvisational music is all about,
anyway?

Holiday Music:

Eric Reed, Merry Magic (MAXJAZZ). This arrived as one of the early
seasonal listings and rather then go through the slew of others on the market,
let's stick with this one if no other reason that pianist Eric Reed deserves
some attention. This is far from the first superb holiday recording from the St.
Louis-based MAXJAZZ label. This time Reed, whose part of that now not-so-young
group of very talented musicians who have been on the seen for 15 years or
so, leads a talented group that includes: drummer Rodney Green, bassist Barak
Mori and vibraphonist Steve Nelson. On Merry Magic Reed cruises -- in jazz
terms, anyway; the longest piece runs is 6:04 -- through 13 selections
incorporating holiday faves and some not so familiar tunes such as his lovely mid-tempo
"Angels in the Snow" and "After the Holidays." Vocalist Paula West, a MAXJAZZ
roster mate adds her smoky resonance to "Santa Baby" and "After the Holidays"
while Erin Bode lends her lighter vocal style to "I Wonder as I Wander" and
"What Are You Doing New Year's Eve?" Merry Magic's pace is relaxed, the mood
bright and recording sound crisp and clear.