Travels - Downbeat

Nicholas Payton#BAM Live AtBohemian CavernsBMF Records 001HHHH1/2#BAM Live At BohemianCaverns begins with FenderRhodes chords, played withfinesse in the left hand, quicklyoscillating below an almosthammered melodic explorationissuing from the right.When Nicholas Payton picks up his trumpet for the melody, he playsdouble duty—one hand on the keyboard, another on his horn. The conceitbehind Live At Bohemian Caverns—that of Payton wielding his primarymelodic instrument even as he provides harmonic backing for hissongs—is more than a mere trick. His accompaniment more than suitsthe mood. The idea of him playing multiple instruments is a continuationof his 2011 work Bitches, on which he provided most of the instrumentationand vocals. That album skewed heavily toward r&b and hip-hop, andwhile Bohemian Caverns is more jazz than not, the live album carries hisnew approach forward. This is the first release on Payton’s new imprint,BMF Records, and he’s willing to break out of traditional molds, blendingpop, funk and rock into this offering. That original tune that beginsthe album, “The Backward Step,” moves from tentative exploration intofiery raucous playing, backed by Lenny White’s crashing cymbals andVincente Archer’s playful bass interjections. —Jon Ross#BAM Live At Bohemian Caverns: The Backward Step; Drad Dog; Catlett Out Of The Bag; Pannonica;The African Tinge; The Return Of The African Tinge; Frankie And Johnny. (79:31)Personnel: Nicholas Payton, trumpet, Fender Rhodes; Vincente Archer, bass; Lenny White, drums.Ordering info: nicholaspayton.comBenoît Delbecq/Fred HerschDouble TrioFun HouseSonglines 1600HHHFrenchman Benoît Delbecqand his American counterpartFred Hersch are amongthe most talented pianistsof their generation, and theidea of a double trio is a source of great expectations. Unfortunately,Fun House somewhat leaves a taste of unfinished business. Delbecqcontributes all of the material with the exception of “Tide,” co-writtenwith drummer Steve Argüelles, and a cover. The compositions areloose and abstract. No instrument seems to have a specific role. Theplayers create a maze—their lines intertwined or interlocked—andweave a dense musical fabric. Because the pieces bring the composer’sintellectual side to the fore, the results tend to be overly dry. This isreinforced by the lack of change of pace. Only “Night For Day” seemsto challenge the status quo with its oblique drive and Thelonious Monkaccents.Delbecq opted for the double trio because he had recorded pianoduos with pianist Andy Milne and wanted to explore a different route.The beautiful and personal rendition of Ornette Coleman’s “LonelyWoman” as a duet is reason to hope that he will return to that format.Delbecq’s mastery of extended techniques combined with Hersch’sacute sense of harmony is a pleasure to hear. —Alain DrouotFun House: Hushes; Ronchamp; Strange Loop; Fun House; Le Rayon Vert; Night For Day; One IsSeveral; Tide; Two Lakes; Lonely Woman. (52:36)Personnel: Benoît Delbecq, piano; Fred Hersch, piano; Jean-Jacques Avenel, bass; Mark Helias,bass; Steve Argüelles, drums, electronics; Gerry Hemingway, drums.Ordering info: songlines.comThe Kahil El’ZabarQuartetWhat It Is!Delmark Records 5002HHHKahil El’Zabar moves towardthe center this time around andreleases one of his most accessiblediscs yet. The adventurousdrummer and bandleader steersan impressive quartet, composedof some of the newer generations of the AACM, and emphasizesblues, swing and groove.The disc kicks off with the strutting original “The Nature Of,”which showcases impressive solos from each member, with keyboardistJustin Dillard in particular getting major points for his mastery onthe Hammond B3 organ. The blues albeit modal component underscoresthe haunting “Song Of Myself” as tenor saxophonist KevinNabors and Dillard run mysterious parallel lines across bassist JuniusPaul’s ominous ostinato and El’Zabar’s dancing ride cymbal rhythms,as well as the John Coltrane-inspired closer “Kari,” which featuresDillard pounding out some gorgeous block chords underneath Nabors’declarative tenor saxophone melody. Stripped-down West Africanrhythms and percussion always play a central role in El’Zabar’s music.Here, he employs them ingeniously on the funky “What It Is!” whichhints at Chicago’s deep house music. —John MurphWhat It Is!: The Nature Of; Impressions; What It Is!; Song Of Myself; Central Park West; From TheHeart; Kari. (59:13).Personnel: Kahil El’Zabar, drums, kalimba; Kevin Nabors, tenor saxophone; Justin Dillard, piano,Hammond B3 organ, Fender Rhodes; Junius Paul, bass.Ordering info: delmark.comPedrito MartinezRumba De La IslaCalle 54 88765406072HHHHFans of Pedrito Martinez’scurrent group should prepareto have some of their expectationsblown on Rumba DeLa Isla.There’s a different energyat work on the Cuba-bornrumba master’s interpretationof the work of Spanish flamenco great Cameron de la Isla. Martinezshares de la Isla’s forward-thinking approach, though his aim hereseems not to be finding common denominators between the differentrumbas that exist in Cuban and flamenco music. Instead, Martinezprocesses the music through a lens of his artistry that seems to havebeen created specifically for this project, which makes the results thatmuch more impressive. His take on “Yo Vivo Enamorao,” for example,shifts the intensity that de la Isla’s voice reflected—through raspycries and the downward curled edges of certain lyrics—from emotivevocals to evocative percussion. Martinez’s own clarion voicesweeps along improvised lyrics, calm and unwavering, as thick layersof rhythm intimate de la Isla’s passion. “Dos Estrellas Relucientes DeLas Alegre Primavera” also underscores the mellow beauty Martinezcan unearth through this approach, as his soft touch on the congasand call-and-response vocals build against violinist Alfredo de la Fe’smoments of electrified frenzy. —Jennifer OdellRumba De La Isla: Que a Mi Me Vio De Nacer; Yo Vivo Enamorao; Dos Estrellas Relucientes De LasAlegre Primavera; Solo Vivo Pa’quererte; Volando Voy; Quiero Quitarme Esta Pena; No NaqueresNa’De Mi; Gitana Te Quiero; Homenaje A Camaron. (50:15)Personnel: Pedrito Martinez, composer, arranger, chekere, congas, cowbell, vocals; Román Díaz,bata, cajon, spoons, vocals; John Benítez, bass; Piraña, cajon; Niño Josele, guitar, handclapping;Alfredo de la Fe, electric violin; Xiomara Laugart, backing vocals; Abraham Rodríguez, backing vocals.Ordering info: calle54records.com66 DOWNBEAT JUNE 2013