Daniel Smith Jazz Suite For Bassoon

Daniel Smith has established himself as an extraordinary practitioner of the bassoon, not simply in the classical realm, but in the jazz and crossover genres as well. His career spans his recording of all 37 Vivaldi concertos to 2014's "Hot Smokin' Bassoon Blues." Despite Smith's remarkable facility on the bassoon, I found listening to that recording a challenge in part because of the sonority of the instrument itself. However, along comes across a release of recordings made two decades ago, "Jazz Suite For Bassoon" (Summit Records), with music that is more satisfying to these ears.

The recording has three parts that displays the breath of Smith's musical range. The first part is entitled "Baroque Adaptations For Bassoon and Jazz Trio." Accompanied by a jazz trio, he plays compositions by Vivaldi, Bach, Henry Purcell and William Byrd. First adapting Vivaldi's "Allegro from Concerto in Bb," he jazz trio backing provides a chamber group feel for Smith's supple and stately playing. William Byrd's "Pavan: The Earl of Salisbury" in contrast has a more relaxed morose feel in the accompaniment and Smith's measured playing and followed by a swinging rendition of Purcell's "Air For Ground Bass," which will suggest some of the Modern Jazz Quartet explorations in a similar vein. This set of five pieces has an intimate feel and appeal.

The second part of the CD has Smith and a baroque music ensemble, the Caravaggio Ensemble rearrange three of Scott Joplin piano rags, "The Chrysanthemum," "The Easy Winners" and "Original Rags." Michael J. West in his notes for this release observes that this performance would have been a smash in 18th Century Ballrooms. The lively reworking of ""The Chrysanthemum," Smith taking the lead with the ensemble providing a foundation and musical accents. "The Easy Winners" has marvelous playing by Smith along with complementary interplay from the strings and restrained piano.

The three movement "Jazz Suite For Bassoon" was composed by pianist Steve Grey who plays on it along with guitarist Mitch Dalton, vibraphonist Jim Lawless, bassist Ray Babbington; and drummer Mike Smith. The opening "Allegro" movement incorporates elements of Bobby Timmons and the Adderlys in the very lyrical melody. The second movement "Ballade," opens with Lawless setting the mood on vibes before Smith enters, sounding almost like a cello. His playing is followed by a piano trio segment before Smith reenters. It is a lovely performance. The third and concluding movement, "Finale" mixes blues, march and vigorous rhythmic swing for a lively conclusion to the suite and the recording that bridges the realms of classical and jazz.

Daniel Smith's "Jazz Suite For Bassoon" is a marvelous showcase for Smith's bassoon mastery and some marvelous chamber jazz.

A publicist provided the review copy. I have made minor changes in the review that originally appeared in the September-October Jazz & Blues Report (Issue 362).

Daniel Smith Smokin’ Hot Bassoon Blues

The bassoon is an instrument that is associated with classical music and it is out of the classical music world that Daniel Smith has emerged into the jazz world. I was not familiar with him until I received his new Summit Records’ recording “Smokin’ Hot Bassoon Blues” which is his 5th jazz recording (and 2nd apparently to focus on the blues).

He is backed on this by a solid rhythm section of Robert Bosscher-Piano/Arranger, Michael O’Brien-Bass, and Vincent Ector-Drums. There are also guest artists Ron Jackson-Guitar, Efrat Shapira-Violin, Neil Clarke-Latin Percussion, Greg ‘Organ Monk’ Lewis-Jazz Organ, and Frank Senior-Vocalist. They handle a program of blues (and blues-associated numbers that include Jimmy Forrest’s “Night Train”; Charles Mingus’ “Better Get Hit In Your Soul” Jimmy Smith’s “Back At The Chicken Shack”; Ray Charles’ "What’d I Say"; and “Hallelujah I Love Her So”: Sonny Rollins’ “Blue Seven”; Horace Silver’s “Senor Blues”: Duke Ellington’s “C Jam Blues”; and Bobby Timmons’ “Moanin’.”

I have no issue with Smith’s technical command of what is a somewhat cumbersome instrument to play, much less swing. The issue is the bassoon has a sour sound to these ears which may limit its audience. This is not to say that there is some very intriguing playing, including from those of Smith’s rhythm section as well as his guest artists. I find Shapira’s violin quite engaging and the unison parts of her and Smith provide more comfortable listening. She certainly makes distinctive contributions to “Night Train” and Senor Blues” for example. On the latter number, pianist Bosscher has a nice break.

Senior adds some vocals to a couple of Ray Charles numbers with O’Brien taking a nice bowed solo on “Hallelujah I Love Her So,” while Lewis’ adds greasy Hammond B-3 to “Back to the Chicken Shack” and “C Jam Blues,” on which guitarist Jackson sparkles with his crisp, clean fretwork. Smith is brave to handle the challenges of the Mingus and Rollins compositions and his playing on a lesser known Nat Adderley composition “Hummin’” is fascinating with some bluesy single note playing from Jackson and the rendition of Bobby Timmons’ “Moanin’” is also is also engaging with significant contributions from Jackson and Shapira along with a tight solo from O’Brien.

The reservations about this recording lie in the bassoon’s sonority that makes listening to “Smokin’ Hot Bassoon Blues” a challenge, despite the high level of musicianship as the novelty of a jazz bassoon may wear off for some. This might be best sampled a few tracks at a time.

A publicist provided my review copy. This review appeared in the September-October 2014 Jazz & Blues Report (Issue 356). Here is a video of Smith captured in performance.