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Cellar Live
It is possible that I may have met Ray Gallon when perusing the jazz stacks at J&R Music World in lower Manhattan decades ago. In any event, this is the pianist's long-awaited debut that has attracted praise from the likes of Ahmad Jamal and Ron Carter. Carter, in fact, wrote a brief liner note, "Welcome to the world of the music of Ray Gallon…extraordinary pianist…college professor…talented composer and arranger…and my dear friend… ." Gallon has been playing for many years, with a period he dealt with his health and that of his family and his resume includes playing with Ron Carter, Art Farmer, T.S. Monk, Dizzy Gillespie, Milt Jackson, Harry "Sweets" Edison, Wycliffe Gordon, Benny Golson, Frank Wess, and The Mingus Big Band. On this trio date, he is joined by bassist David Wong and Kenny Washington.
Listening to Gallon, one is struck by echoes of Hank Jones, Thelonious Monk, Barry Harris, Bud Powell, and others, but it is distinctly him backed by a first-rate rhythm section. Highlights on a consistently excellent recording include "Out of Whack" with its off-kilter, Monkish flavor with some nice stick work from Washington. Then there is an intriguing blues "Craw Daddy," with his use of dynamics and touch matched by Wong and Washington. "Harm's Way" showcases not simply his technical virtuosity with the almost frantic tempo but also the fluidity of his playing and his imagination and skill in constructing a solo. Both Wong and Washington solo here as well.
Gallon originally conceived of interpreting "I Don't Stand a Chance With You" as a bossa. Still, it has evolved into an exquisite and poignant ballad rendition played with a light touch. In contrast, on a memorable treatment of "Yesterdays," Gallon acknowledges employing some of the devices Art Tatum used (although not directly emulating Tatum), such as the transitions from rubato into a spirited tempo through an ostinato bass line and remarkably dissonant voicings. Other selections include the dazzling "Plus One," a contrafact based on Fats Waller's "Honeysuckle Rose," where he also trades fours with Washington. Hank Jones was perhaps the strongest influence on Gallon. Gallon, in fact, studied with Jones. "Hanks a Lot" is his tribute to the late piano great and has some of the energetic eloquence that Hank Jones brought to his music.
As a composer, Ray Gallon crafts melodic themes that keep resonating with the listener while the performances take surprising, but engrossing twists and turns, resulting in this excellent recording that leaves listeners wanting more.
I received my review copy from a publicist. Here Ray Gallon performs "Hanks a Lot."
