David Finck BASSically Jazz

David Finck
BASSically Jazz
Burton Avenue Music

James Gavin writes about bassist David Finck, that he "may be the most versatile bassist in or out of jazz, fluent in the musical languages of Dizzy Gillespie, André Previn, Rosemary Clooney, George Michael, Phil Woods, Kenny Rankin, Hank Jones, Paquito D'Rivera, Ivan Lins, and Sheila Jordan, to name just a few of the stars on his resume." in his 40 years performing, he has explored and developed a remarkable voice on the bass.

This is his third album as a leader and puts his playing in full displaying with its full sound and his passion for melody and songwriting. He is joined on this recording by Joe Locke on vibes; Jim Ridl on piano; Cliff Almond on drums; Ali Ryerson on flute; Bob Mann on Guitar; Kevin Winard on percussion; and Mike Davis on trombone. Linda Ever and Alexis Cole are guest vocalists.

The embrace of melody is captured on "Old Devil Moon," that features Joe Locke's shimmering vibes, Ridl's tasteful piano and the graceful touch of Almond. Finck bass provides an anchor for a buoyant performance. Finck's bass kicks off the brisk pace of "The Song Is You." Ridl's crisp, rolling solo leads into a brief solo by Locke before Finck showcases his touch, tone and drive on several choruses. These selections also exhibit the marvelous ensemble playing that is present throughout the CD.

Guitarist Mann, with his nylon string guitar, is added to the captivating interpretation of the bossa nova classic "O Barquinho." Finck actually played "The Summer Knows" with its composer Michel Legrand and later with Broadway's Linda Eder who sings the lovely version here. Finck plays an atmospheric bowed bass solo here. "When I Look Into Your Eyes," from the movie "Dr. Doolittle," also showcases Finck's captivating Arco bass playing. His strong Pizzicato bass technique is showcased on "Alfie." Alexis Cole, the other guest vocalist, is featured on Finck's "I Love You So" where she ably handles the unusual rhythms and changing keys. Her clean, melodious delivery is also showcased on Toots Thielemans classic "Bluesette," which features Ali Ryerson's flute along with a brief bass break.

Ridl and Locke both are excellent on the swinging rendition of John Coltrane's "Moments Notice." Finck also takes a robust solo chorus, and Almond adds a crisp drum solo. Trombonist Davis displays a gravelly melodicism on the interpretation of "Tuyo (Theme From Narcos)" with Winard providing the breezy Latin rhythms. Finck even takes a vocal showcasing an attractive low-key style on the closing "All My Tomorrows."

"BASSically," provides David Finck with a showcase of his complete command of the bass. With his marvelous ensemble and the melodic compositions, he has produced an exquisite recording.

I received my review copy from a publicist. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386). Here is a video of David Finck in 2006 playing "Blue Bossa" as part of The Great Jazz Trio with pianist Hank Jones.

 

Ryan Cohen "Another Look" (Motema Music)

Chicago pianist and composer Ryan Cohen has played in a number of musical contexts as well as with his quartet of bassist Lorin Cohen, saxophonist Geof Bradfield and drummer Kobie Watkins. The recipient of a Guggenheim Fellowship for Composition has augmented this quartet with vibraphonist Joe Locke and percussionist Steve Kroon for his new Motema Music release “Another Look.” With the exceptions of Victor Feldman’s “Joshua” and the Ellington classic, “Caravan”, Cohen contributed the compositions for this varied recording. One thing that is clear when listening to this is that Cohen’s working band is terrific.

The opening of “Monk’N Around” caught my ears, with Cohen contributing some Monk-ish piano runs before Locke takes the first solo with a skittering attack as Cohen chords under him, before Cohen takes a propulsive solo that alludes to Monk’s style. “Joshua” opens with hot piano setting up the groove with Bradfield taking a muscular tenor sax solo followed by hot piano as Watkins’ simmers on the cymbals. Locke returns on a lovely ballad “You & Me,” with his vibes marvelous while Cohen’s own solo and Bradfield’s soft tenor accompaniment lend this performance a precious quality. “This or That” is more spirited with Bradfield’s thoughtful playing (with little if any vibrato) complementing the leader’s piano as the rhythm section (including Locke) swing hard. Bradfield and Locke sit out the stunning latin jazz rendition of “Caravan,” a performance which benefits from Kroon’s rhythmic accents.

“Gentle Souls” opens with Bradfield’s solo tenor sax before switching to soprano sax with the full ensemble and then stating the theme as Locke adds coloring followed by the leader’s solo, and Bradfield’s serpentine soprano sax with Locke taking the lead for the coda. Locke is featured with a vigorous and entrancing solo developing the lovely melody of “Another Look.” “Song For My Grandfather” finds him in a pensive mode in the introductory section of this lovely jazz waltz by Cohen, Lorin Cohen and Kobie Watkins. I was especially impressed by Watkins’ playing throughout this recording, whether his use of cymbals or his lively latin groove. The closing “Stepping Out” evokes classic bebop tunes of Bird and Dizzy with Cohen spectacular and Locke in a spirited mode.

“Another Look” is a thoroughly entertaining with excellent original compositions, superb ensemble playing and thoughtful, spirited solos that is strongly recommended.


My review copy was provided by a publicist for this release.