Jazz sessions led by bassists long ago stopped being the exception to the rule.
Notable bass-playing sidemen — from Ron Carter and Dave Holland (Miles Davis) to Charlie Haden (Ornette Coleman), from Christian McBride to practically every four-string anchor who’s backed Chick Corea, including Stanley Clarke, John Patitucci and Avishai Cohen — successfully graduated from character actor to lead roles, applying distinctive, readily recognized tonal conceptions and compositional approaches to their own projects and tours.
Last year was no exception, with a flood of fine bass-led CDs, including the eclectic Esperanza (Heads Up), a mix of jazz, Latin, Brazilian, pop and funk from rising star Esperanza Spalding, also an affecting singer; Richard Bona‘s rambunctious, live Bona Makes You Sweat (Decca); Charlie Haden‘s Americana-rooted Rambling Boy (Decca); and Todd Coolman‘s Perfect Strangers (ArtistShare), an unusual project incorporating tunes penned by little-known composers (see my earlier post).
Also notable were a pair of ambitious sets of compositions and arrangements — Windy City musician Larry Gray’s 1,2,3… (Chicago Sessions), a trio recording with guitarist John Moulder and drummer Charles Heath, and Roberto Occhipinti‘s jazz/Latin/Brazilian/classical project Yemaya (ALMA).
I reviewed several of the above for major music publications.
Herewith, a quartet of other bass-led CDs deserving of greater attention:
The David Finck Quartet, Future Day (Soundbrush) — Finck, a reliably supportive presence on sessions by Latin and Brazilian jazz artists, offers a singing tone and typically sturdy rhythm work on this top-shelf collaboration with vibraphonist Joe Locke, pianist Tom Ranier and drummer Joe La Barbera.
The swing, on tunes like “Four Flags,” with aggressive solo turns by guests Jeremy Pelt, on trumpet, and Bob Sheppard, on tenor sax, is clean and hard driving. Locke, throughout, is a wonder – casually virtuosic and, on the gorgeous “For All We Know” and elsewhere, he turns in improvisations marked by clever twists and unexpected phrasings.
The arrangements, too, offer pleasant surprises, including a 5/4 version of “Nature Boy” (a redesign suggested by La Barbera); a haunting take on Wayne Shorter’s “Black Eyes”; and the closing “Firm Roots,” by Cedar Walton, with more bracing improvisations by Finck and La Barbera.
(Finck’s next appearances: April 25, San Raphael , California with the Manhattan Transfer; April 26, Denver, with the Manhattan Transfer; May 16, Washington DC with Sheila Jordan; May 22, Cambridge, Mass with Steve Kuhn Trio; May 29-June 1, Blue Note New York with John Faddis)
Ben Wolfe, No Strangers Here (MaxJazz) — Wolfe, best known as an eminently reliable, steady-beat wood chopper for the likes of Harry Connick Jr., Diana Krall and Wynton Marsalis, mixes and matches his quartet (tenor and saxophonist Marcus Strickland, pianist Luis Perdomo, drummer Greg Hutchinson) with a string quartet and several guests on a set of dynamic originals.
The strings blend gorgeously with the band on the vintage-sounding, slow-swimming title track (and elsewhere), and Branford Marsalis raises the artistry of the proceedings even higher, playing soprano on the strolling “Milo” and tenor on “The Filth,” a dirty, twisting blues. Trumpeter Terrell Stafford also makes impressive guest shots, on the start-stop contours of opener “The Minnick Rule” and the aptly titled closer “Groovy Medium.”
Anne Mette Iversen: AMI Quartet with 4Corners, Best of the West/AMI Quartet, Many Places (BJU Records) — Band meets string quartet, too, on Best of the West, a heady jazz-meets-classical outing led by Danish-born NYC bassist Anne Mette Iversen. New York/New Orleans tenor saxophonist John Ellis turns in a wonderfully buoyant conversation with the rhythm section and strings on the opening “North” and the searching “North West”; and Iversen’s sensitive work as an improviser is showcased on “North East.”Synchronicity is the byword for this set of intense, often intensely beautiful music.
Also included in this two-disc release is Many Places, which has the same quartet, absent of the strings, sounding considerably more loose and relaxed, and turning even more creative. The bright, swinging “Out the Atlantic” and the delicate “The Square in Ravello” are just two of many gems composed by the leader.
Bill Moring & Way Out East, Spaces in Time (Owl) — The two-horn line of trumpeter Jack Walrath and saxophonist Tim Armacost frontloads Moring’s second CD with plenty of grit and heft, starting with funky opener “Sweat,” penned by Walrath.
Moring shows off his talents as a composer on the ballad-to-Latin piece, “Mary Lynn,” which opens with bowed bass and has Walrath turning in a muted solo; the pensive ballad “A Space in Time,” glued together, like other tunes, by Steve Allee’s electric keys work; and the chunky “iHop,” cued open with a grinding bass line and drummer Steve Johns’ chunky backbeat. The quintet drives furiously on Ornette Coleman’s “The Disguise.”