Harvey Mason: Changing Partners Trios 2 (Evosound EVSA2937)
As the original drummer in Herbie Hancock’s Headhunters and a founder member of smooth-jazz specialists Fourplay, Harvey Mason has forged a reputation as a member of the fusion family. In addition he has supported numerous popular performers over a considerable amount of time.
By way of contrast, when Changing Partners Trios was released first time round in 2006 we experienced the drummer as a straightahead jazzman leading various trios through a number of familiar tunes mixed in with originals. The CD reissue version which is reviewed here sports five bonus tracks, as opposed to the available vinyl which has only seven items.
We get one track each from Chick Corea and Dave Grusin, the former giving vent to his natural creativity on his own Waltz For Dave, allowing the drummer to show his more expansive side. In the case of Grusin we get a lighter option, as one would expect.
Gonzalo Rubalcaba, aided and abetted by Stanley Clarke, reworks Sweet And Lovely; Lars Jansson on his two contributions throws up a less frenetic alternative and Makoto Ozone confidently delivers a couple of those standards. Given his undoubted prowess Joey Calderazzo is slightly disappointing on the two closing tunes, a Mason original and a run-of-the- mill interpretation of Prelude To A Kiss.
Over and above everything else, the leader’s drumming is often inventive, illustrating a part of his make-up unknown to many and also proving his ability to swing with the best of them.
Karlis Auzins Double Trio: Equilibrium Suite (Jersika Records JRD012 001 1000)
More jazz from Latvia in the shape of this piece of vinyl under the name of Karlis Auzins, a saxophonist much fêted in the Baltic area. His soprano and tenor are supported by two bass players and dual drummers. His short comments on the sleeve cite John Coltrane, Pharoah Sanders, Albert Ayler and other such luminaries as his inspiration for putting together the 40+ minutes of music to be found here.
Although the programme is broken down into separate titles, effectively the music is continuous on both sides of the disc. No matter that Auzins calls out those forebears, this is very individual in concept and performance. The only question might be would the music have had any less impact with only one bassist and drummer?
Given the instrumentation one might be misled into thinking the results would be unnecessarily sparse or conversely of the heads-down thrash variety. True, there are one or two moments of languor but generally this music is well thought out, generating some contrasting experiences for the listener. On Part 1 “Perspective” for instance, the leader does generate some Coltrane like tenor intensity over his very busy rhythmic partners, whereas Part V Hymn “I Want To Tell You” finds him almost tender in delivering a mournful message.
His supporting musicians also get brief exposure as individuals but it’s fair to say the concentration is on a group ethic which should be regarded as a success.
Theo Travis: Secret Island (Ethersounds ESLP011)
Originally issued on CD in 1996, Secret Island is now available on vinyl for the first time, with the 180gm disc encased in a gatefold sleeve. For this release, saxophonist Theo Travis had the support of his regular collaborators David Gordon (piano), Rob Statham (fretless bass guitar) and Marc Parnell (drums), rounded out by guests including guitarist John Etheridge.
Some of the tunes have a Latinesque quality about them, starting with Lulworth Night, a light, attractive piece, which is followed by a totally different proposition in The Crow Road, an uptempo romp finding the leader totally comfortable as the atmosphere rises and the guitarist adds an extra edge. After The Storm is aptly titled, presenting Travis in lyrical mood as he swaps tenor for soprano; a strong bass line anchors things and Etheridge hints at country matters à la Bill Frisell.
The soprano is again in evidence on Full Moon, carried along by a lilting tempo, revealing more than a hint of the blues below the surface, an underlying element which also finds its way into Three People, a composition evoking ballad-like intentions that are denied by some passionate tenor and guitar.
Reviews for this album when first released included such comments as “a cracking album”, “one of the outstanding releases of 1996” and “an original and personal jazz conception”. Enough said!
Ensemble C: Every Journey (Adhyâropa Records AR00078)
The first album from Ensemble C came to us some five years ago, being generally highly approved of. It’s not difficult to have a similarly positive attitude to Every Journey, probably a long overdue follow up.
This aggregation is led by pianist and composer Claire Cope, a musician whose skills lend themselves to both jazz and other areas of contemporary music. The 11-piece we savour here includes trumpeters Freddie Gavita and Mike Soper, Matt Carmichael on tenor saxophone plus guitarist Ant Law.
All eight compositions are Cope originals, with plenty of light and shade to keep things more than interesting. Brigitte Beraha’s wordless vocals are an essential part of each tune, being high in the mix and often riding high over the band or seemingly leading the ensemble. A number of the tracks were inspired by women of achievement, amongst which we could include the leader, for she is strong on melody, produces harmonic riches and is able to extract a rich density from this line-up.
Contrast is also apparent, leaping from the atmospheric title track to the rhythmically uplifting Flight, followed by Amboseli, a surging, uplifting experience enhanced by some expressive Carmichael tenor. When Home, the peacefully satisfying denouement came to a close, this reviewer was left wanting more.
