heart of gold - The New York City Jazz Record

28 January 2011 | ALLABOUTJAZZ-NEW YORK
(CONTINUED FROM PAGE 25)
Heavy Mirth
Jack Walrath (SteepleChase)
by Francis Lo Kee
Trumpeter Jack Walrath’s Heavy Mirth was recorded
in December 2008, a year after his excellent previous
SteepleChase release Ballroom. Both feature bassist
Boris Kozlov and drummer Johnathan Blake and while
Ballroom spotlighted pianist Bill Mays, Heavy Mirth
presents pianist Orrin Evans and tenor saxophonist
Abraham Burton in a group performing some of the
best contemporary jazz around. Walrath, like his
former employer Charles Mingus, clearly believes that
all styles and eras of jazz can co-exist, even in one set
of music. Walrath and his band play tunes that recall
the Swing Era, bebop, funk and the avant garde, all
with tremendous skill, passion, intelligence and a
sense of honest joy often missing in today’s jazz.
“Bassballs” starts things off and, indicative of
Walrath, the pun is not just a gimmick. Though the
bass ostinato does drive the tune along, it’s not its
entirety; from out of the obsessive repetition it takes a
cartoonish left-turn into major-key happiness. “Cloak
and Dagger”, a kind of twisted tango, mirrors “Death
is Just Around the Corner Cha Cha Cha” on Ballroom.
The tango’s form and rhythm provides different
improvisational scenery for the soloists, including a
brief arco interlude from Kozlov. Beginning with an
intricate and coiled drum solo, “Road Kill” launches
into a fast swing vehicle for what the old jazzers call a
flag-waver. The trading between Burton and Walrath
gets more and more intense as they start from eightmeasure
intervals, through four-measure trades and
continuing to collapse until they merge as a twoheaded
monster soloist passing the baton to Evans.
Vocalist TC III has a great voice, reminiscent of
Leon Thomas or Andy Bey, yet one could not find a
more personal and sincere approach to the blues than
this. While “A Long, Slow, Agonizing Descent into the
Depth of Despair” could win a prize for longest song
title and, given Walrath’s penchant for humor, a
listener might expect a surprise - this blues is expertly
played and sung without irony in an older style, again
proving the depth and scope of this band’s talent.
For more information, visit steeplechase.dk. Walrath is at
Miles’ Café Jan. 23rd. See Calendar.
Organ Monk
Greg Lewis (s/r)
by Graham Flanagan
It’s highly doubtful that, before heading in to record
his new album Organ Monk, keyboardist Greg Lewis
didn’t know about the dozens upon dozens of tributes
- from both straightahead and avant garde
perspectives - to the great pianist Thelonious Monk
that already exist. Greats like Mal Waldron, Charlie
Rouse and Milt Jackson, to mention only his
contemporaries, have all paid their respects to the jazz
pioneer. What else is left to say? After listening to
Organ Monk, the answer to that question is simple:
plenty. Using the B3 Hammond organ as his weapon of
choice, Lewis - along with guitarist Ron Jackson and
drummer Cindy Blackman - delivers one of the most
unique and enjoyable Monk tributes you’ll find
anywhere.
All but one of the 16 selections are Monk originals,
Lewis’ own composition “Kohl’s Here” closing out the
album. This uptempo, syncopation-heavy bopper
would have been music to Monk’s ears, were he still
around to hear it. The other numbers will indubitably
please Monk fans of all shapes and sizes, especially
those with an appreciation of the B3. Lewis and
company break down such beloved classics as “Four in
One”, “Criss Cross” and “Monk’s Mood” and make up
for the absence of typical standards like “Epistrophy”,
“‘Round Midnight” and “Well You Needn’t” with lessrenowned
gems like “Coming on the Hudson”,
“Jackie-ing” and “Locomotion”.
It’s obvious the trio intends to honor Monk; but
once the theme is stated on each track, the group
ventures into relaxed, soul jazz-infused improvisation.
Of course, some Monkophiles might consider the
notion of their idol’s music being interpreted via any
instrument other than the piano to be somewhat
sacrilegious (perhaps ignoring how often it is played
without even that). However, if you turn on Organ
Monk with an open mind, you’re almost guaranteed to
find the experience rewarding.
For more information, visit myspace.com/
thetruthgreglewis. Lewis’ trio is at Night of the Cookers
Fridays. See Regular Engagements.
Sam Newsome
Blue Soliloquy
(Solo Works for Soprano Saxophone)
"BEST NEW RELEASE 2010"
AllAboutJazz-New York
"5 Stars ����� (Masterpiece)"
Downbeat Magazine
With the release of this groundbreaking CD,
Sam Newsome has proven himself to be one of
the most important soprano saxophonists of
his generation.
Available on iTunes and CDBaby
samnewsome.com