BSDE 4TET: Live At Parma Jazz Frontiere (GleAM Records AM 7034)
This group recorded its first album back in 2021 which received a positive response from the Italian critics, leading to personal accolades for leader Daniele Nasi, a saxophonist whose creative talents are displayed here, as he impresses on both tenor and soprano. The group is completed by pianist Jung Take “JT” Hwang, bass player Giacomo Marzi and drummer Mattia Galeotti.
Much of the music, composed of Nasi originals, has been inspired by the plight of migrants in general, the situation in Palestine and the tragedy that is the current Ukrainian conflict. But as with all such projects driven by events, the question is whether the end product stands up to scrutiny. In this case it certainly does.
A number of these tunes appeared on that first album, the opening Drowning In Guilt being a case in point, kicking off in conventional uptempo mode, featuring Nasi on tenor, with pianist Hwang setting out her stall. This comfortable normality gives way to a ruminative middle section, interrupted by an unexpected telephone conversation, eventually giving way to a turbulent free-ish passage before a return to the norm.
The circular breathing we experience via the tenor on Callin’ is impressive, as is the Tyner-inclined intensity from the keyboard. When switching to soprano, the leader is essentially a lyrical player, which we experience on Oddly Enough and Waltz For Palestine, although this does not negate his ability to raise the temperature.
The final track, Nord Scream 2, South Screams Too, opens in a subdued manner broken by tumbling aggressive urgings from all and sundry, taken out by a portentous toll.
Donald Harrison: Indian Blues (Candid CAN 32032)
Being New Orleans born, saxophonist Donald Harrison has long been a great upholder of the traditions associated with that city and this 1991 recording served to celebrate the tradition of black residents parading on Mardi Gras dressed as native Americans. His attachment went further, as his father Harrison Snr. had the honour of leading a number of these tribes including The Guardians Of The Flame, who are featured on this album delivering chants and percussive effects. The NO connection is furthered by the presence of Dr. John, on piano duties and taking lead vocals on four tracks.
The good doctor shares the keyboard role with Cyrus Chestnut, always an aural pleasure, who inevitably provides the straightahead jazz moments in a mix including the Mardi Gras staple Indian Red and Professor Longhair’s Big Chief. These are joined by such tunes as Ja-Ki-Mo-Fi-Na-Hay, a NO classic if ever there was one and that warhorse of all warhorses Cherokee.
Harrison junior performs on both alto and tenor, favouring the former, clearly revelling in this past and present presentation. His input also stretches to background vocals and a touch of tambourine shaking, which of course only act as an adjunct to the commanding statements emanating from both his horns.
The saxophonist may have cut his teeth in The Jazz Messengers, as well as leading a first-class group with Terence Blanchard but this is proof of his roots, constituting an important part of his musical make-up.
Paquito D’Rivera: Who’s Smoking?! (Candid CAN 33232)
When Paquito D’Rivera defected to the USA in 1980, part of the first contingent of Cuban musicians to do so, he brought his own special brand of interpretation to the music, incorporating jazz, classical and Latin elements. He forged a reputation as a passionate performer no matter which member of the saxophone family he chose to employ, his technical facility on the clarinet being a particular joy for listeners.
For this 1991 recording he was joined by a distinguished cast of musicians, including James Moody, Danilo Perez and Al Foster who serve him well. Trumpeter Claudio Roditi is also in the mix, receiving composing credits for the title track, shared by the leader, plus the pacey Desert Storm, where he unveils his flugelhorn, an excellent foil for D’Rivera’s soprano.
The programme is a well-balanced concoction incorporating originals, some in a Latin vein, in tandem with Coltrane’s Giant Steps, Monk’s I Mean You and Out Of Nowhere. All three, perhaps surprisingly, feature the aforementioned clarinet, the standout being the third, which sets the leader’s alacrity against the equally mobile bass of Harvie Swartz. The sleeve note suggests D’Rivera’s lines are reminiscent of Tony Scott’s sound of the 1950s.
Otis Spann: Walking The Blues (Candid CAN 33331)
This is a straight reissue on 180-gram vinyl of a Spann album recorded in 1960 at the same time as Otis Spann Is The Blues and only confirms what a major force of the genre he undoubtedly was before his untimely death at the age of 40.
Although Spann was a constituent part of the Muddy Waters band from the early 50s to the late 60s, enthusiasts were well aware of the output under his own name. Walking The Blues should be regarded as a personal triumph, where he had the company of guitarist Robert Lockwood, Jr plus St. Louis Jimmy (James Oden) – the latter supplying vocals on four tracks.
The pianist is in commanding form throughout. His piano is full of invention in a genre famous for its clichés, as he mixes up instrumentals with other tunes where he delivers highly convincing vocals. We do believe in the detriment of Evil Ways and the regrets presented on My Home Is In The Delta, for example.
The St. Louis Jimmy tracks include his own classic Going Down Slow, which has been covered over the years by too many artists to mention and Monkey Face Woman, a none too flattering description of a lady he purports to love. Spann, in a supporting role on these selections, contributes greatly to the message the singer intended to deliver. Robert Lockwood, a bluesman of status in his own right, contributes to seven of the tunes, being suitably subdued when necessary, appropriately bold and stinging where necessary.
