There are few pianists on the jazz scene today as consistently resourceful and inventive as Cedar Walton, the man from Dallas who, over the years, has so effectively sustained and developed the pianistic approach pioneered by Bud Powell.
A most engaging composer – Walton has a brilliant flair for creating originals with compelling hooks, appealing rhythmic figures and melodic integrity – he is also an imaginative and powerful soloist and a superb accompanist. He has a brilliant harmonic grasp and an ear for the good tunes.
With perfect supportive backing from bassist David Williams and drummer Billy Higgins, Walton played a two-week season at Scott’s which was an eloquent demonstration of just how stimulating a piano trio can be when the musicians involved are so accomplished and compatible.
Walton’s development of musical ideas is sure and logical, his reworking of harmonies inspired and he has a marked ability to create a neat little phrase and pursue it through the changes.
His repertoire is full of quality tunes – Every Time We Say Goodbye (with a perky quote from Randy Weston’s Hi Fly in the double-tempo passage), My Ship, Close Enough For Love and JJ Johnson’s beautiful, haunting Lament were all masterfully and feelingly interpreted by the trio; and on uptempo numbers the swing generated was prodigious indeed.
At a time when so many bass players are insanely over-amplified, Williams played at a perfect level of modulation and with beautifully secure time. And Higgins was, as ever, the epitome of the ‘dancing’ drummer – poised, subtle and effortlessly swinging.
