Jay Anderson Deepscape

Jay Anderson
Deepscape
Steeplechase

Bassist Anderson captivates listeners with a new recording that finds him in diverse musical settings that range from a bass solo to chord-less quartets and quintets to a bass-harmonium duet as he performs compositions by Keith Jarrett, Billy Joel, Gil Evans, and Morton Feldman. On this recording, he is joined by Billy Drewes, alto sax, soprano, and bass clarinet; Kirk Knuffke, cornet; Matt Wilson, drums; 
Frank Kimbrough, harmonium; and Rogério Boccato.

While I was not familiar with Anderson before this recording, he has performed with Maria Schneider, Michael Brecker, Frank Kimbrough, Ryan Truesdell, Bob Mintzer, Ira Sullivan, and Red Rodney. It was with the Red Rodney Quartet in 1988 that he participated in the first of over 100 recording sessions for Steeplechase. He has played on recordings by Vic Juris, Harold Danko, Dave Stryker, Paul Bley, Stanley Cowell, Freddie Redd, Louis Smith, and many others. Nils Winther of Steeplechase asked in early 2018 if he would be interested in his own project, and the result is this CD.

The title track opens this disc. Over a prerecorded drone, Anderson plays a melody and then recorded two additional layers of other bass sounds. The other bass solo is an extended examination of the melody of Billy Joel's "And So It Goes," where he displays the tone, articulation, and ability to improvise around the theme. There is an Ornette feel to the performances of two Keith Jarrett compositions, "Shades of Jazz," and "Southern Smiles." Knuffke establishes himself with a darting style while Drewes' alto playing has a bluesy spirit, and their interplay is outstanding. Anderson is rock solid while Matt Wilson is perhaps more Billy Higgins than Ed Blackwell, but helps drive and swing these performances.

There is a different feel to the interpretation of Gil Evans "Time of the Barracudas" with the horns riffing in support of Anderson's bass lead with Wilson providing adroit rhythmic accents before Drewes takes a soprano solo. The rendition of the standard "Sweet and Lovely" starts as a duet between Anderson and Wilson (the latter playing almost in a New Orleans groove. Knuffke enters midway, and his playful playing is reminiscent of the late Lester Bowie with a mix of slurs, short bursts, and extended notes. There is a lively, playful performance of "Bradford Marsalis' "The Mighty Sword."

On three selections, Anderson is joined by Kimbrough on the harmonium. The first of the three is the 5th Movement of Morton Feldman's "Rothko Chapel," where, in addition to bass Anderson also plays the Tibetan singing bowl. Drewes soprano sax floats over Kimbrough's harmonium along with Wilson's drums and Boccato's percussion for what is a haunting performance. The same musicians are heard on Jim Pepper's "Witchi-Tai-To." Anderson opens by stating the underlying chord sequence and the melodic phrase. Wilson's cymbal work leads to a transition into Drewes' soprano sax taking the lead over the accompaniment centered around the leader's bass. Kimbrough's harmonium lends a rendition of "Tennessee Waltz" a feel of an Irish folk song before turning into a captivating duet with Anderson's bass which 'sings' this classic country song.

"Deepscape" is a splendid recording with an intriguing mix of material and musical settings, as well as the superb performances by Anderson and his compatriots.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is Jay Anderson performing in 2012.

RIP Bunchy Johnson

I just got the new OffBeat, the JazzFest Bible edition and came across the obituary for drummer Bunchy Johnson. I may have heard he had died, but it was not until I saw his picture in OffBeat, that I realized he was the exuberant drummer who I saw playing with Jeremy Davenport at JazzFest several times.

He played with a who's who of New Orleans musicians including Dave Bartholomew, Allen Toussaint, Johnny Adams, Deacon John, Irma Thomas, Doctor John, and James Booker. He was an important part of Deacon John's Jump Blues project. Deacon John (quoted in OffBeat) remembers "Bunchy was the kind of guy that lit up the room when he walked in." I just remember the exuberance he brought to his music.

Max Roach 1924-2007

The headline in the New York Times website the afternoon of August 16 said it all. As Peter Keepnews' wrote," Max Roach, a founder of modern jazz who rewrote the rules of drumming in the 1940’s and spent the rest of his career breaking musical barriers and defying listeners’ expectations, died early today in Manhattan. He was 83."
Anyone playing drums stands in his musical shadow. An innovator who never stood musically still. As I write this Columbia University's WKCR is doing a Max Roach marathon in his memory thorugh next Wednesday August 22 where you can experience a musical legacy that few in American musical history can equal. You can listen on the internet by visiting WKCR's website is www.wkcr.org. The link for Peter Keepnews obituary is Max Roach.