A member of the band Kneebody, the new recording by saxophonist-composer Ben Wendel is an exhilarating recording with his acoustic quartet of Gerald Clayton on piano, Joe Sanders on bass and Henry Cole on drums. About the music on this he commented, "'What We Bring' refers to the experience, inspiration and shared wisdom that musicians collect and absorb throughout their lives, and how that is expressed through their art. All of the pieces on this album are dedicated to masters from the past, peers from the present and musicians of the future. …"
The opening "Amian," has moments of energetic playing along with quiet lyricism with the rhythm providing a swirling pulse. Clayton consistently adds his own inspired solo on "Fall," followed by Wendel's probing against the bass-drums support. There is a playfulness exhibited by Wendel's alto and Clayton's piano on "Spring" that evolves into heated playing marked by Wendel's slight vibrato on the alto sax as the rhythm section provides a swirling backdrop. Drummer Cole's behind the beat snare generates a rhythmic tension that underpins the stately, reflective tone of Wendel's tenor on "Doubt."
The lyrical "Song Song," has an exemplary solo from Clayton, terrific playing from Sanders and Cole before the leader's own sonorous playing as the performance swings strongly to a muted close, on an outstanding performance on a consistently engaging, stimulating recording. The swirling energy of "Soli" is followed by the calm of "Austin." The closing "Solar," is not the Miles Davis number. Wendel's composition is given a spirited performance with Cole driving the groove and spotlighted near the end.
This is a terrific recording with Wendel's compositions a springboard for robust, focused playing by a top-notch band.
I received my review copy from a publicist. This review originally appeared in the March-April Jazz & Blues Report (Issue 371). Here Ben and this group perform "Song Song."
This review of Roy Hargrove appeared in the October 2008 Jazz & Blues Report (Issue 309) on page 19. As I type this introduction, I am getting ready to see him this evening (January 8) at the Kennedy Center in Washington DC for the first of the two sold-out shows. Among the young lions who has emerged in jazz the past few decades, Hargrove brings forth fresh jazz while rooted in the tradition, whether lading his quintet, fabulous big band or simply being a member of the Dizzy Gillespie All Star Band. Earfood is his most recent quintet release I believe.
It is astonishing that Roy Hargrove is not yet 40, as his recording career almost spans a full decade. His latest album is Earfood for Emarcy and features his trumpet and flugelhorn with his working band of Justin Robinson (saxophone), Gerald Clayton (piano), Danton Boller (bass), Montez Coleman (drums).
A solid modern date which is intelligently programmed with a few choice chestnuts mixed in with Hargrove’s intriguing originals that transverse a wide landscape of moods and grooves. The sizzling opening, Cedar Walton’s “I’m Not So Sure,” kicks off like an Art Blakey cooker, while the mood shifts on “Brown,” with nice mute playing from Hargrove, but the whole group is terrific. The empathy they display is an element is one the crucial reasons why this is such a solid effort. “Starmaker” is another lovely ballad with strong solos from Hargrove, Robinson and Clayton. “Joy is Sorrow Unmasked,” is a melancholy tinged tone poem followed by the bouncy bop of “The Stinger.” “Mr. Clean” is built on a funk bass line, somewhat evoking Cannonball Adderly and similar soul-laced jazz, while “Speak Low,” is another ballad with Robinson sitting out and Hargrove playing marked by its ruminative flavor.
A live performance of Sam Cooke’s “Bring It On Home to Me,” takes us back to the church and the blues with Robinson and Hargrove engaging in a spirited call and response before Hargrove launches into perhaps the most fervent playing here followed by Clayton sounding like he is playing in church. It is a spirited close to a terrific collection of performances by one of the leading groups playing today. I received a review copy of Earfood either from Jazz & Blues Report or from Emarcy Records or a publicist for this release.
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