JAZZby James HaleSaxAggressionJerome Sabbagh:spirit strikesFrom grainy introspectionto acerbic ecstasy, altosaxophonist David Binneycovers a lot of tonalground on Third Occasion(Mythology 0006; 61:50)AAAA and frequentlyextends the harmonicrange with a small brasssection. Pivoting on thepanoramic “Squares AndPalaces”—an exceptionally well-constructed15-minute composition—the recordingfeatures a first-rate rhythm section: CraigTaborn, Scott Colley and Brian Blade.Sounding particularly dark and resonant,Colley plays a muscular role, freeing Bladeto dance lithely. Third Occasion has a cinematicquality that accentuates the episodicnature of Binney’s nine originals.Ordering info: davidbinney.comThere’s more than a hint of the exclamatorysingle-mindedness of John Coltrane’sGiant Steps to Jimmy Greene’s MissionStatement (RazDaz/Sunnyside 4608; 64:26)AAA 1 /2. The title makes it plain that Greeneaims to lay his saxophone bona fides on thetable for those who haven’t heard the 34-year-old on his way up. He strings togetherlong, pirouetting runs, accented by plangentsqueals straight out of Trane’s book.Bassist Reuben Rogers and drummer EricHarland may be better known now asCharles Lloyd’s rhythm mates, but they’vebeen with Greene since 2002—along withpianist Xavier Davis—and the longevity isevident in their sympathetic support.Guitarist Lage Lund provides a second compellinglead voice.Ordering info: sunnysiderecords.comOctogenarian Red Holloway has a timelesssound that contains the echoes ofdecades of music made in Chicago. ADuSable High School contemporary ofJohnny Griffin and Von Freeman,Holloway glides through nine pieces onGo Red Go! (Delmark 585; 65:21) AAA andhandles the diverse program—whichstretches from Gershwin to Jobim—withan even, graceful groove. The classicorgan quartet is filled out by either HenryJohnson or Freeman’s brother George onguitar, Greg Rockingham, drums, andtuneful keyboardist Chris Foreman.Ordering info: delmark.comPursuing a loose superhero themewrapped in a string of absurdly punningsong titles, Adventures (Boxholder 055;69:41) AAA introduces veteran adventurerCharlie Kohlhase’s highly resourcefulseptet. Powered by two drummers and featuringa blustery front line of two reeds, JeffGalindo’s trombone and Eric Hofbauer’sguitar, The Explorer’s Club is a band thatcan sound like a much larger unit but alsoshift into raw-boned blowing reminiscent ofNew York’s loft era. “The Star Of TheShow,” Kohlhase’s raucous tribute toJames Brown, is a standout.Ordering info: charliekohlhase.comTony Malaby’s excoriating tone is alwaysbracing, and contrasted with Ben Monder’sspectral guitar it gains an extra measure ofgrit on Paloma Recio (New World 80688;57:58) AAA 1 /2. Monder matches him forintensity on “Alechinsky,” and Norwegianbassist Eivind Opsvik adds another dissonantlayer. With Nasheet Waits playingmore freely than he does in many settings,this is a recording that covers a broad scopeof moods, with the deeply felt lyricism of“Lucedes” and “Sonoita” balancingMalaby’s more aggressive pieces.Ordering info: newworldrecords.orgYou don’t find many post-bop era musiciansrecording programs of all standards;fewer still choose to do them in a pianolesstrio. French native Jerome Sabbagh relishesthe challenge with One Two Three (BeeJazz 028; 46:28) AAAA and his nerve paysoff. Backed by the exceptionally responsiverhythm team of bassist Ben Street andwhip-fast drummer Rodney Green, the 39-year-old Sabbagh takes on nine pieces—primarily from the ’50s—and ups the anteby doing them live off the floor, withoutedits or overdubs. Avoiding any of theusual stylistic clichés, Sabbagh lets thesecompositions speak for themselves. He’snot afraid to simply play the melody,although when the spirit strikes him he canspin out inspired improvisations. DBOrdering info: beejazz.comEMRA ISLEKMichael Musillami Trio + 3From SeedsPLAYSCAPE 020109AAAA 1 /2Guitarist Michael Musillami has a tone that’simpossible not to love. Tart, yet round, he uses iton rapidly picked lines that sound like early JohnMcLaughlin and in darting phrases that areaccented by his long-time rhythm partners,bassist Joe Fonda and drummer GeorgeSchuller. On From Seeds Musillami has expandedhis trio by adding saxophonist Marty Ehrlich,vibist Matt Moran and trumpeter Ralph Alessi.That makes for a potent sextet, and the guitarist’swriting provides a rich variety of settings.Inspired by Thelonious Monk, “SplayedFingers” zigzags between tempos and is highlightedby a gorgeous, cascading line that’sessayed first by Moran and then echoed byMusillami and Fonda. Ehrlich adds heat as thepace doubles and Alessi takes the piece out witha typically piquant solo. The following “Ga-Ga-Goosebumps” takes the listener in a completelydifferent direction, shifting between Schuller’smartial-sounding snare intro to a series of staccatomovements that drive home an insistentmelodic line. Again, Musillami wastes no timemaking great use of his new bandmates’strengths—in this case, Ehrlich’s biting, burnishedtone and Alessi’s terrific use of intervals.Not enough variety yet? Musillami turns a perfecttrifecta by cranking up a retro-soundingmetallic tone on the title composition—a corrosivesound that Ehrlich matches on alto. Afterhammering away with an intensity that recallsthe punk jazz/no wave era, Fonda and Schullersteer things into a near-rumba coda.A blues dedicated to a flagging wisteria plantand a sharply etched anthem for composers whocontinue to work in pencil slow the pace andshowcase Moran’s work-effective doubling ofAlessi’s lead on “Wisteria Hysteria Blues” andlovely sprays of notes on “Graphite.”In his liner notes, Musillami is candid abouthis concern over adding new voices to his 7-year-old trio. He needn’t have worried; it was agreat decision.—James HaleFrom Seeds: Splayed Fingers; Ga-Ga-Goosebumps; FromSeeds; Wisteria Hysteria Blues; Graphite; Bill Barron. (56:22)Personnel: Michael Musillami, guitar; Ralph Alessi, trumpet;Marty Ehrlich, alto sax; Matt Moran, vibraphone; Joe Fonda,bass; George Schuller, drums.»Ordering info: playscape-recordings.com52 DOWNBEAT August 2009
Chick Corea& John McLaughlinFive Peace Band LiveCONCORD 31397AAAAThere’s something for everyonein this generous sonicsouvenir of the world tour ofthe one-time-only supergroupassembled by leadersChick Corea and John McLaughlin. The twodisclive set taken from the band’s Europeantour offers two hours of stylistically diverse butuniformly superlative music as it segues fromfull-band fusion fireworks to a delicate duet on astandard to impassioned blowing sessions andeven some avant-garde experimentation. Throwin a guest appearance of historic importance andFive Peace Band Live delivers a substantial jazzexperience of unusual quantity and quality.In the more than four decades that havepassed since Corea and McLaughlin workedtogether, they had never combined their talentsin a touring group until the Five Peace Band project.They apparently wanted to make up for losttime as they attempt to demonstrate the fulldepth and diversity of their expertise by not onlyvisiting the past and present of fusion but alsodelving into samba, bebop and several unusualhues of blues.With alto saxist Kenny Garrett, a fellowMiles Davis alumnus, the band was intended tobe an improv unit, as its temporary nature wouldimply. It is, however, a tribute to the leaders, butespecially to the rhythm section of bassistChristian McBride and drummer VinnieColaiuta, that the live music doesn’t sound likejust a high-level jam session.The peripatetic Corea, seemingly involved ina major new project every year, provides morepiano than usual, while McLaughlin’s playingretains its precise velocity even as his work hasevolved to include silence as well as speed.Half the songs are more than 20 minuteslong, and all of them (with the exception of theglorious duet finale) offer at least a dozen minutesof music. Fusion fans expecting little morethan greatest hits from the past will be surprisedby the forward-looking nature of the majority ofthe material, as well as by its diversity. Threecontemporary McLaughlin compositions andtwo by Corea, who also contributes an arrangementof Jackie McLean’s “Dr. Jackle,” whereinMcBride delivers a breath-taking bass solo, providethe core of the concert.Garrett, who distinguishes himself on everysong, shines especially bright on McLaughlin’s“New Blues, Old Bruise,” a tune that also servesas a Colaiuta feature. But it is in the rapid-fire,three-way trading on “Señor C.S.” that he leavesno doubt his role in the band is that of an equal.Corea’s “Hymn To Andromeda,” ushered inquietly with just piano and bowed bass, is theset’s most ambitious and extended selection.The excitement of the new dominates the setbut it is the sublime satisfactionof the old that is most rewarding.Herbie Hancock joins the bandfor a fascinating 20-minuterevisit to the Davis era as theband navigates “In A SilentWay” and “It’s About ThatTime” with more creative confidenceand seasoned sensibilitiesthan in their youthful days.The concert closer, a brilliantly nuancedand beautifully performed Corea/McLaughlinduet rendition of “Someday My Prince WillCome,” is a far cry from the frenetic full bandopener “Raju” and serves as a fitting and properdenouement for the proceedings.—Michael PointFive Peace Band Live: Disc 1—Raju; New Blues, Old Bruise; HymnTo Andromeda (68:01). Disc 2—Dr. Jackle; Señor C.S.; In a SilentWay/It’s About That Time; Someday My Prince Will Come (71:06).Personnel: Chick Corea, piano and keyboards; John McLaughlin,guitar; Kenny Garrett, saxophone; Christian McBride, acoustic andelectric bass; Vinnie Colaiuta, drums; Herbie Hancock, piano (7).»Ordering info: concordmusicgroup.com