JD Allen

Americana: Musings on Blues and Jazz 

Savant Records 

The remarkable tenor saxophonist JD Allen describe’s his newest album, “Americana,” as his “personal investigation of the blues at this point in my evolution as a musician.” With the exception of two selections, his seven original compositions are based on I-IV-V-I blues progressions, although listening to earlier blues artists he realized that structurally the 12 bar blues form and the so-called blues scale actually have very little to do with the blues. 

Great blues artists such as Skip James and Bessie Smith certainly support this argument. ... “In my opinion the blues is the gateway to the past and present of American music, the well from which gospel, jazz, rock, country, rhythm & blues and hip hop are drawn. The spirit of the blues, be it subtle or overt, manages to show itself in every genre of American music. Without a doubt, it is my connection as a person and a musician to the definition of Americana.” 

I do not know if I fully agree that the Blues is the roots of all American vernacular music, but there is no question that J.D. Allen and his trio of bassist Gregg August and Drummer Rudy Royston have produced a remarkable recording of instrumental blues. Allen’s playing has been compared to Sonny Rollins and John Coltrane, although in interviews he also mentions Dexter Gordon’s influence. With respect to this recording, Coltrane’s sound perhaps is most evident. I point out the remarkable interpretation of Vera Hall’s lament that was originally recorded for the Library of Congress by Alan Lomax, “Another Man Done Gone.” The tenor echoes the field holler quality of the lament and complemented by August’s stunning Arco bass and Royston’s turbulent turns on the drums. 

“Cotton” opens with August’s bass line before Allen’s tenor brings a solemn tone as he constructs his solo here. It is followed by a brighter groove on “Sugar Free,” a blues that has a bit of Ornette Coleman’s influence, followed by “Bigger Thomas,” named after the main character in Richard Wright’s “Native Son.” Allen and the trios playing here is suggestive of Coltrane’s “Chasin’ The Trane,” with Royston, in particular, complementing Allen. A similar feel marks the closing “Lillie Mae Jones,” but “Lightnin’” also merits attention with the Middle-Eastern sonority of Allen’s playing. 

Allen, August and Royston have been playing together for sometime and this is reflected in the cohesiveness of the trio throughout this recording. It is an outstanding exploration of the blues in jazz by one of its leading artists.

I believe I purchased this. This review originally appeared in the September - October 2016 Jazz & Blues Report (Issue 368). I wanted to include a video of the current recording but for some reason there was a copyright issue so instead here is  an earlier exploration in the blues of JD Allen playing "Son House," from 2008.

Bruce Barth Trio's Live At Smalls' Piano Jazz

Among newer releases on Smalls Live in its Live at Smalls series is one by the Bruce Barth Trio. Pianist Barth is accompanied by the bass of Vincente Archer and drummer Rudy Royston on location recordings from the Greenwich Village club that captured a late September 2010 performance. I am most familiar with Barth from his work on Terrell Stafford’s excellent celebration of the music of Billy Strayhorn, This Side of Strayhorn, (MaxJazz), but this is first album under his name I have heard. He has a pretty extensive resume including a stint with Terence Blanchard and a number of prior recordings as a leader.

With the exception of a rendition of Good Morning Heartache, the trio performs Barth's original compositions. The opening “Oh Yes I Will is not typical of several performances in that it opens in a pensive, impressionistic manner before Barth’s playing builds heat while Royston pushing things along and Archer provides a steady anchor. Sunday opens somewhat in a similar fashion as it develops in a similar fashion before the arpeggios are contrasted with block chords before it closes more pensively. There is a lovely ballad Yama and the lovely version of Good Morning Heartache, finds Barth playing with great restraint and in a spare fashion while Royston provides understated percussive support.

This listener’s favorite track might be Almost Blues. This is a terrific, spirited hard bop blues with a Monkish tinge with some driving playing with Royston’s rhythmic accents pushing it along before he solos and then trades fours with Barth. Archer gets to solo on Peaceful Place and the spirited Wilsonian Alto which has a bit of latin spice in the performance. Afternoon in LLeida, is a lovely performance mixing in Barth’s manner of setting a mood while providing contrast with some bluesy passages.

As usual with SmallsLive recordings, this is handsomely produced and the sound is quite fine. Barth’s crisp, yet feathery touch is complemented by his sideman for a thoughtful and lively recording. I will be checking out some of his past catalog. Its available from SmallsLive directly or other vendors. 

I purchased this CD.  Here is Bruce Barth performing Wilsonian Alto from 1 2004 performance with a different trio.