Gerald Odoonal Remote

Pianist & composer Gerald Clayton explores the impact and abstraction of time on his ravishing 2nd Blue Note album Bells On Sand, which features contributions from mentor Charles Lloyd on saxophone, father John Clayton on bass, longtime friend and peer Justin Brown on drums, and new collaborator MARO on vocals. “Each musician on the record represents a different aspect of the axis of time and its shifting sands,” says Clayton. “My father and Charles Lloyd, who has been a mentor figure to me, reflect new permutations of my past, and the lineage of elders who have shaped my development; Justin Brown, being my contemporary and musical brother, represents my present; and MARO represents the future—she is part of the next generation, and points to a brand new collaboration.” The music includes new originals, pieces by Catalan composer Federico Mompou and Gerald’s uncle Jeff Clayton, as well as two stunning solo piano versions of the standard “My Ideal.”

One of the biggest stars of R&B, contemporary and straight-ahead jazz, Gerald Albright has earned his reputation as a “musician’s musician.” Born in Los Angeles, he began piano lessons at an early age. Albright’s love of music picked up considerably when he was given a saxophone that had belonged to his piano teacher. By the time he enrolled at the University of Redlands, he was already a polished saxophonist. Albright decided to switch to bass guitar after he saw Louis Johnson in concert. A few months after graduating from college, he joined jazz pianist/R&B singer Patrice Rushen, who was in the process of forming her own band. Later, when the bass player left in the middle of a tour, Albright replaced him and finished the tour on bass guitar.

Gerald Veasley, an in-demand bassist for dozens of artists (amidst lengthy periods with Grover Washington, Jr. and the Zawinul Syndicate), finally debuted as a leader with 1992's Look Ahead. Veasley welcomed both Washington and Zawinul on single tracks, Zawinul's feature being one of his best-known compositions, "Country Preacher." Elsewhere, Veasley works with varying lineups usually anchored by keyboard player Mark Knox, who detracts slightly from the jazz flavor of the date, though his keys do add atmosphere to several tracks. Veasley's spry six-string bass is heard best on "Fly Spy" (with Washington), though the most enjoyable cut on the record is the '70s funk throwback "Sweet Mary."

Some people just know how to make the magic happen when the tape starts rolling. Writer producer Twist Turner found a Chicago cat that looks and sounds like a down home Jackie Wilson and makes it sound like something that was recorded after hours in Muscle Shoals. A big, bold sounding record that defines the divide between soul and blues, this is soul music right in line with the genre's best. Killer stuff sure to curl your toes.

The set includes 17th and 18th century arias and songs from England by Purcell, Handel and Green, French art-songs by Debussy and Fauré, as well as canciones by Spanish composers including Enrique Granados and Joaquín Turina.