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Helen Sung
(re)Conception
SteepleChase 31708
HHH½
In what is likely to be a long, varied career—all
the signs are there—Texan native Helen
Sung probably won’t be remembered for (re)
Conception. A set of standards, played with
two stalwart hired guns in the rhythm section,
the album reveals little of the diversity and
imagination Sung exhibits elsewhere. It has the
feel of a placeholder.
What (re)Conception does do is put a spotlight
directly on Sung’s playing, which is seldom
short of exceptional from a technical
standpoint. Trained from the age of 5 as a classical
pianist, and having scaled the heights of
the notoriously rigorous Russian repertoire, she
has the dexterity to sound like Oscar Peterson
on a rapid take of “Wives And Lovers” and
Chick Corea in the intro of “Teo.” On her sole
original, “Duplicity,” there is ample evidence
of the kind of power that underlies her playing,
and her articulation on a nicely arranged version
of “Crazy, He Calls Me” is flawless.
Such highlights run throughout the nine
performances, but what is in short supply is
any sense of risk taking or drama. Yes, it’s
inherently risky to record first takes with
unfamiliar bandmates, but Peter Washington
and Lewis Nash can handle anything that’s
thrown at them and make it sound like they’ve
rehearsed for a week. And, clearly, Sung has
either worked out some parts, like the pretty
solo on “Far From Home,” or given a lot of
thought to her approach. The result is akin to
admiring an impeccably dressed model: not
a hair is out of place, and not a fold of clothing
where it shouldn’t be. Of course, perfection
can co-exist without excitement in art—some
of Peterson’s work is evidence of that—but it
doesn’t make for memorable art, unless all you
care to remember is that you heard it.
—James Hale
(re)Conception: (re)Conception; I Believe In You; Far From Home;
Duplicity; C Jam Blues; Wives And Lovers; Crazy, He Calls Me; Teo;
Everything But You. (57:12)
Personnel: Helen Sung, piano; Peter Washington, bass; Lewis
Nash, drums.
Ordering info: steeplechase.dk
Avishai Cohen
Seven Seas
Sunnyside 1294
HHHH
In act one of Avishai Cohen’s career, he was a
virtuosic, driving bassist whose playing,
whether on his own or as a sideman, was as
remarkable for its melodic audacity as its technical
prowess. He entered act two last year with
Aurora, an album that revealed him as a composer,
exploring his Jewish heritage as much
through song as improvisation.
Seven Seas is where the plot thickens.
Recording mostly with his working band,
Cohen has upped the vocal content and placed
a greater emphasis on melody. At times, as on
the gently gorgeous “Hayo Hata,” his themes
unfold with such power and drama there’s
almost no need for improvisation.
That’s not to suggest that Cohen has sworn
off soloing; check out the fleet-fingered lyricism
of his solo midway through “About a
Tree” or the rhythmic dynamism of his turn
in “Two Roses.” But even though his playing
remains as jaw-dropping as ever, he takes
care to put that flash in service of the composition.
On the title tune, his bass elaborates on
the piano theme without overshadowing it, the
occasional note-flurry seeming more a reaction
to Itamar Doari’s clattering hand percussion
than any desire to take the spotlight.
Because the solos are so carefully folded
Stanley Jordan
Friends
Mack Avenue 1062
HHHH
Virtuosos don’t always play well with others;
their visions can be so single-minded that they
require supplicants, rather than collaborators.
Guitarist Stanley Jordan puts himself squarely
in the latter camp with this collection.
Like a carnival wrestler who takes on all
comers and adjusts his abilities to various skillets,
Jordan seems intent on proving manifold
versatility. He’s quite successful in that regard.
But Jordan also impresses with the vision to
arrange the pieces and cast the guest players in
their tonal and stylistic roles.
Jordan deals out filigreed lines worthy of a
Jimmy Raney or a Barney Kessel to Nicholas
Payton and Kenny Garrett’s scorching frontline
on the bopping “Capital J.” He trades
tasty strummed chords with Bucky Pizzarelli
on “Lil’ Darlin’,” plays tag-you’re-it with Mike
Stern on “Giant Steps,” engages Pizzarelli
and Russell Malone in a swinging three-way
on “Seven Come Eleven” and plays light-as-afeather
touch technique on the Vigier Argege
guitar on “One For Milton.”
Along the way, Jordan throws some
change-ups, like recasting Katy Perry’s “I
into the arrangements, it takes a few listens to
fully appreciate how good the band is. Doari is
a terrific match for Cohen’s bass playing, being
so attuned to the pitch of his percussion that his
solos are almost hummable, and there’s a singing
quality to Shai Maestro’s piano phrases that
neatly matches the vocals. Amos Hoffman’s
oud seems shortchanged, given the sparkle he
adds, but from the sound of things, Cohen has
a lot more action planned before drawing the
curtain on this act. —J.D. Considine
Seven Seas: Dreaming; About a Tree; Seven Seas; Halah; Staav;
Ani Aff; Worksong; Hayo Hayta; Two Roses; Tres Hermanicas
Eran. (47:13)
Personnel: Avishai Cohen, vocals, bass, piano; Karen Malka, vocals;
Shai Maestro, piano; Amos Hoffman, oud, electric guitar;
Itamar Doari, percussion, vocals; Jenny Nilsson, vocals; Jimmy
Greene, soprano, tenor saxophone; Lars Nilsson, flugelhorn; Bjorn
Samuelsson, trombone; Bjorn Bohlin, English horn.
Ordering info: avishaicohen.com
Kissed A Girl” as a swing bounce. A luminescent
“Bathed In Light” has drummer Kenwood
Dennard brushing in background keyboard
colors and a soulful Payton solo; smooth jazz
should always sound this good. —Kirk Silsbee
Friends: Capital J; Walkin’ The Dog; Lil’ Darlin’; Giant Steps; I
Kissed A Girl; Samba Delight; Seven Come Eleven; Bathed In Light;
Romantic Intermezzo From Bartok’s Concerto For Orchestra; Reverie;
One For Milton. (62:35)
Personnel: Stanley Jordan, guitar, piano (5, 9); Nicholas Payton,
trumpet (1, 8); Regina Carter, violin (6); Kenny Garrett (1, 8), Ronnie
Laws (6), soprano saxophone; Charlie Hunter (2, 5), Bucky Pizzarelli
(3, 7), Mike Stern (4), Russell Malone (7, 11), guitar; Christian
McBride (1, 8), Charnett Moffett (2, 3, 5, 6, 7, 10), bass; Kenwood
Dennard, drums.
Ordering info: mackavenue.com
82 DOWNBEAT DECEMBER 2011