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Pandelis Karayorgis,Nate McBride &Curt NewtonBetwixtHATOLOGY 652AAAAAny record on which a pianist turns toFender Rhodes these days seems likely tobe a commercial calculation, an approximationof the electric-Miles Davis estheticin a contemporary lo-cal version. Such atreat, then, to hear a fresh take on the disabusedinstrument. The Greek-bornBostonian Pandelis Karayorgis is not withouthis funky edges on the amped keyboard, buthis method isn’t to put down kitschy grooves orcreate a sexy ’70s fusion ambiance. In his hands,and with his wonderful trio, the Rhodes is transformedinto a versatile, gritty, pitch-based electronicsound generator—a perfect free-bop tool.On their first CD, We Will Make A Home ForYou (Cleen Feed, 2005), the threesome wentunder the moniker MI3, but they’ve opted forbirth names this outing. Nevertheless, the workingconcept is the same, taking a batch ofThelonious Monk tunes (four this time), a selectionof fertile compositions by others and a fewKarayorgis originals, and laying them out into abrilliant program. Sun Ra’s “Saturn” is a lovingnod at the electronic keyboard pioneer, adaptingthe signature tune associated with his earlyyears; Karayorgis mutates the conventionalRhodes sound with several devices, including aMutron, giving his solo an appropriately synthlikestretchiness and vocality.The Monk pieces—especially a sweet, ratherRa-ish version of “Brake’s Sake”—providegreat material for the electric keyboard, thesupersaturated sound emphasizing the right-onoddness of some of the chords. MishaMengelberg’s classic, Monkish “Hypochristmutreefuzz”is likewise a nifty foil for theband, prompting a tasty little solo from drummerCurt Newton, whose unfettered, unforcedapproach suits Karayorgis. Nate McBride, whowas also based in Boston until settling inChicago, continues to be one of the most riveting,beautifully melodic bassists around.Karayorgis contributes his own pieces in thepost-Monk lineage, all creatively conceived andfull of spunk. He can handle down-tempo workswith equal intelligence—for instance, the eerieghost-voice on Hasaan Ibn Ali’s “Off My BackJack.” Satisfying, stem to stern, Betwixt mightencourage other sympathetic souls to hit theRhodes.—John CorbettBetwixt: Green Chimneys; Saturn; Break Even; Heaven;Betwixt; Hypochristmutrieefuzz; Pinocchio; Brake’s Sake; LightBlue; Curt’s Escape; Off My Back Jack; Humph. (65:45)Personnel: Pandelis Karayorgis, piano; Nate McBride, bass; CurtNewton, drums.»Ordering info: hathut.comKenny GarrettSketches Of MD: Live At TheIridium Featuring Pharoah SandersMACK AVENUE 1042AAJazz needs fire-starter soloists, and those whohave caught Kenny Garrett on a good night realizethat the alto saxophonist is a guy who canheat up a room real quick. His combination ofnu-bop agility and post-Coltrane expressionismunites into a tornado of sound that swirls withpassion and earns itself lots of house.Odd, then, that this performance from thefamed New York club is frustratingly static—especially when you consider that the mightyPharoah Sanders is along for the ride. The problemisn’t the soloing. Both the 48-year-oldGarrett and the 68-year-old Sanders have a roilingrhythm section at their disposal, and each areencouraged to generate some sweet squalls. It’sthe vamping. The five tracks on Sketches Of MDare based on repeated riffs that ebb and flow asthe two reed principals and keyboardist BenitoGonzalez place their declarations on top. AfterTed NashThe Mancini ProjectPALMETTO 2134AAATed Nash travels someof Henry Mancini’s lesstraveled roads in thistour of the composer’sfilm work, using thematerial more as a compassthan a road map.By exploring some ofMancini’s secondarymovie themes, often from less familiar or successfulfilms, Nash acknowledges a personalhero with a repertoire and in a way that, in hiswords, “feels as if it were a record of originalcompositions.” In a curious twist for a tributealbum, the object of the tribute doesn’t get in theway all that much.It’s probably more characteristic of a musicianthan a listener to see that as a virtue.Mancini and lyricistJohnny Mercer wrotesome of the most popularmovie songs of the1960s, but Nash avoidsall that. From BreakfastAt Tiffany’s, for instance,you won’t hear “MoonRiver.” Instead, Nashturns to the light, sunnycue that essentially representedthe exciting characterand spirit of Manhattanin the picture.Other themes are pulled from deep within thescores of Night Visitor, Blind Date, A Shot InThe Dark, Soldier In The Rain, Sunset, TheParty, Experiment In Terror and Two For TheRoad, plus the TV series “Mr. Lucky” and“Peter Gunn.” Virtually all were done byMancini in partnership with Blake Edwards,whose work as a director was a good deal lessconsistent or reliable than Mancini’s music orthe rock-solid talents of Nash.In a way, this is also a tribute to Nash’s fatherand uncle (Dick and Ted), who were long-timepresences on Mancini’s stylish soundtracks. ButNash works here in a standard jazz quartet setting,offering no echoes of the composer’s distinguishing,now pleasantly dated voicings. Hismost expressive playing comes through thetenor and alto. His flute (“Soldier In The Rain”)is thoroughly accomplished, but somewhat nondescript.Perhaps I have a tin ear for the flute,but I find it hard to hear through its passiveblandness.Nash transposes the music into his own contemporary,post-genre language. It’s a blend ofwarm lyricism when he wants it to be (“Cheryl’sTheme”), but often somewhat tiresome meditativesighs (“Theme From Night Visitor”) anddeclamatory incantations exist alongside but notinside the rhythm section (“Lujon,” “ExperimentIn Terror”).“Breakfast At Tiffany’s,” with its soft, midtempofour-four bed, provokes some nice, low-70 DOWNBEAT November 2008