This writer was impressed at the end of 2019 by Troy Roberts' album "Days Like These." Saxophonist Roberts was, at the time, a member of Joey DeFrancesco's group, and before that, he was a member of the Jeff' Tain' Watts Quartet. In that review, I observed that "With superlative backing, Roberts shows he can play tough and tenor with a big sound in the manner of Gene Ammons, Stanley Turrentine … and Houston Person." On this recording, he shares the limelight with guitarist Tim Jago who, as the album title states, is a close friend of Roberts. The two were born and raised in Australia, and both initially re-located to the US to undertake graduate studies at The University of Miami Frost School of Music.
The present album was recorded in Australia with fellow Australians Karl Florisson on acoustic bass and Ben Vanderwal on drums. The recording took place because of the fortuitous circumstance of all of them being in the same place in July 2020 during the Covid-19 lockdown. It captures four similar attuned musicians putting together some marvelous performances. The album is in a post-bop style, with the theme being the performance of contrafacts (a new melody composed over the existing harmonic structure of various well-known jazz standards).
Like Roberts' prior recording, this is a hard-swinging recording that opens with a take-off on "I Got Rhythm," "Chythm Ranges." Both play with authority on this barn burner performance, and Jago's horn-like single note runs complement Roberts, robust, fiery lines. The title track is an appealing number inspired by Benny Golson's "Stablemates." It is played at a lazy tempo, with Roberts further showcasing his big sound, set against Jago's comping.
The quartet explores "A New Porpoise," a contrafact of "Green Dolphin Street. Bassist Florisson lays down the foundation for this track with Jago displaying his technical facility and invention in his solo. "Pho Twenny" is derived from "I'll Remember April" and a showcase for Roberts' exquisite ballad playing. Based on "My Heart Belongs To Daddy," "King of Hearts" is a jazz waltz with a Coltrane-esque feel with its groove with Vanderwal's channeling Elvin Jones. There is a fugue-like quality in the interplay between Roberts and Jago throughout "Halfway House In C Major," which is derived from Cole Porter's "What Is This Thing Called Love."
A heated "Overlook," a contrafact of "My Shining Hour," closes this album. Roberts develops a thematic improvisation over the rhythm section's blistering tempo, followed by concise solos from Jago, Florisson, and Vanderwal. It is another first-rate performance. The other tracks are of a similarly high standard. With inspired compositions and superb playing, "Best Buddies" is simply an outstanding recording.
I received my review copy from a publicist. Here is a video for "Best Buddies."
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