September 2012 - The New York City Jazz Record

34 September 2012 | THE NEW YORK CITY JAZZ RECORD
I Carry Your Heart
Alexis Cole (Motéma Music)
by Ken Dryden
In a career that spanned the ‘50s into the mid ‘80s,
Pepper Adams was one of the most in-demand baritone
saxophonists, taking part in many memorable dates as
a sideman, along with leading 20 albums of his own.
Less attention has been paid to his compositions,
which are the focus of Joy Road: The Complete Works of
Pepper Adams, a five-volume set available as a digital
download, though this fifth volume, featuring vocalist
Alexis Cole, is available as a physical CD.
This project was launched by Adams’ biographer
and discographer Gary Carner. He honored Adams’
desire to have lyrics written to his songs by recruiting
poet Barry Wallenstein, who does a remarkable job,
particularly since it was his first time writing lyrics for
jazz tunes. The producer also assembled a fine band of
pianist Jeremy Kahn, tenor saxophonists Pat LaBarbera
and Eric Alexander, bassist Dennis Carroll and
drummer George Fludas.
The seven ballads were all recorded in the previous
volumes, but for the vocal interpretations, Carney
asked Kahn to mix things up, making specific stylistic
suggestions. “In Love With Night” proves to be an
auspicious opener with Cole’s sublime vocal, Kahn’s
sensitive accompaniment and the conversational tenor
backing them (though it is unknown which saxophonist
solos). “Now in Our Lives” begins as a slow ballad, but
soon switches to a peppy postbop setting, with one
tenor occasionally sounding like Adams’ gruff baritone.
Cole’s spacious vocal in “Urban Dreams” is another
session highlight. “Julian” is an infectious groover
with Cole making a late entrance, first scatting in
unison with the tenor, then digging into the lyric of
this neglected tribute to Cannonball Adderley. Only
one performance disappoints, the midtempo funk
treatment of “I Carry Your Heart”, far better with
Adams’ lush melody as the centerpiece instead of the
quickly tiresome funk rhythm. Fortunately, the song is
reprised as a duo ballad with Cole and Kahn to close.
For more information, visit motema.com. This project is at
Smoke Sep. 26th. See Calendar.
Escape from 2012
Don Preston/Andrea Centazzo (Ictus)
by Ken Waxman
The majority of people who know of keyboardist Don
Preston only recall his tenure with Frank Zappa and
Mothers of Invention and later involvement in Zappa
tribute bands. But Los Angeles-based Preston, who
turns 80 this month, has had a more varied career. As
bassist, pianist and pioneering synthesizer player he
gigged with people like trumpeter Don Ellis and
clarinetist John Carter, consorted with rockers and also
is featured on CDs with trumpeter Michael Mantler
and pianist Carla Bley.
Percussionist/composer Andrea Centazzo, 15
years Preston’s junior, is a perfect partner. Centazzo
has had a similarly fractured career, playing with
saxophonist Steve Lacy, large orchestras and gamelan
ensembles plus creating soundtracks and multi-media
projects. Using electronic interface and sampling along
with conventional instruments here, the two conjure
up textures that suggest staccato cello and violin
sweeps, positioned marimba pings, conga patting and
bell-tree shakes. At the same time these acoustic
approximations burble along beside or are involved
with interaction from signal-processed whooshes,
buzzing waveforms and loops.
Tracks like “Escape #6” and “Escape #7” pinpoint
the duo’s contrasting jazz-like or electronic-focused
approaches. The exposition of “Escape #6” features
Preston’s walking bass and Centazzo time-keeping on
percussion. But the overdubbed cymbals and tam-tams
confirm they’re not in the ‘50s. With thick voicing,
Preston’s pressurized keyboard glissandi drag the tune
into the 21st Century, as the drummer’s snaps, rattle
and drags subtly accompany him. While rhythmically
paced drumbeats underlie the head of “Escape #7”, the
remainder of the narrative is defined by dial-twisting
oscillations and watery synthesizer sputters. Yet other
surprises are on tap at the finale. As Centazzo balances
a resonating vibe-like tone produced by his MIDIcontrolled
malletKAT, Preston as pianist creates a
skeletal note cluster that could fit seamlessly into any
microtonal performance.
Considering the talent displayed on this
2010-recorded concert, you wonder about the title.
Surely high-quality improvisations like these shouldn’t
be escaping from this year but celebrated with pride.
For more information, visit andreacentazzo.com