Jmt

Paul Motian - Bill Evans (1990) {JMT ‎834 445-2}
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© 1990 JMT / Polydor K.K. Japan | ‎834 445-2
Jazz / Post Bop / Drums

Having been Bill Evans' drummer during the pianist's prime early-'60s period, Paul Motian is the right person to record an Evans tribute album, a recording that fits right in with Motian's spate of jazz repertory releases (Monk in Motian, the On Broadway series). But the obligatory nature of the record ends there, as Motian, tenor saxophonist Joe Lovano, guitarist Bill Frisell, and bassist Marc Johnson turn in an innovative set, using Evans' rich harmonic and rhythmic structures to launch many inspired solos.

The timbre of Cassandra Wilson’s voice is like an opal—incomparably beautiful, deliciously pearlescent, graceful, rich, and eternally strong. On She Who Weeps, originally recorded in 1990 and rereleased last January, lyrics bare little importance. The descriptive quality of words takes a back seat to Wilson’s innate ability to instantly create an atmosphere and strike emotional chords merely by spreading her lips and exercising her larynx. The disc starts off with a romp through Wilson’s own composition “Iconic Memories.” The slight reverb on her voice contributes a sort of sonic aura to the sound, and when vocal overdubbing emerges at the end, the music becomes fiery yet ethereal. Rod Williams on piano, Kevin Bruce Harris on electric bass and Tani Tabbal on drums combine their energetic playing for some ecstatically spirited sounds.

On 1988's Blue Skies, Cassandra Wilson took her first step away from the home she had built with Steve Coleman's M-Base organization. She'd done standards before, all the way back to 1985's Songbook. There are no M-Base players on this JMT set. She fronts a very conventional trio comprised of pianist Mulgrew Miller, drummer Terri Lyne Carrington, and bassist Lonnie Plaxico. The last of these is very significant because it would be Plaxico who directed her very startling and focused transformation when she signed to Blue Note Records in 1993 and released Blue Light 'Til Dawn.

The M-Base concept, which never caught on in a big way but did influence the playing of a dozen or so top jazz improvisers, is heard in its prime on this Gary Thomas release. The tenor saxophonist (doubling on flute) meets up with the fiery altoist Greg Osby, keyboardist Geri Allen, keyboardist Tim Murphy, bassist Anthony Cox, drummer Dennis Chambers, percussionist Nana Vasconcelos, and, on some selections, guitarists John Scofield and Mick Goodrick. The music features dense ensembles, simultaneous improvisations, eccentric funk rhythms, and rhythmic but very dissonant horn solos that have a logic of their own.

The second recording by tuba player Bob Stewart's First Line Band is even better than the first. In 1988, Stewart's group also included trumpeter James Zoller, trombonist Steve Turre, guitarist Jerome Harris and either Buddy Williams or Ed Blackwell on drums; trumpeter Earl Gardner and John Clark on French horn have guest spots on this CD. The music ranges from the straightforward swing of Don Cherry's "Art Deco" and a good-humored "Sweet Georgia Brown" to a 121-minute exploration of Billy Harper's "Priestess" and originals by Stewart, Olu Dara and Kelvyn Bell. Stimulating and often-surprising music that is generally more accessible than one might expect.

As a leader, saxophonist and composer Gary Thomas is wildly ambitious. Throughout the 1980s and into the '90s, Thomas experimented with everything from free jazz and funk to heavy metal and hip-hop. Exile's Gate is another such exercise. There are two distinct bands accompanying him here. One is made up of Thomas on tenor with drummer Jack DeJohnette and guitarist Paul Bollenback with organist Tim Murphy and bassist Ed Howard. The other features the latter two musicians, Marvin Sewell on guitar and drummer Terri Lyne Carrington. The first band plays Thomas' free-spirited and aggressive originals while the second plays standards for the most part. Only Thomas would think of putting the two approaches together on one record on alternate cuts.

This was Bourelly's debut recording that took place one year after his impressive appearance on Cassandra Wilson's debut Point of View for JMT. The feeling is urgent but fluid and the cast of musicians show the first glimpse into Bourelly impulse of seamlessly mixing desperate styles. Here he embraces his connection to the free jazz music scene with the selection of alto great Julius Hemphill and the innovative drummer Andrew Cyrille yet in the context chartering a modern funk style. However Bourelly is clearly at center stage here with a tone that ventures into jazzy overdrive, clean as well one that leads into into warped dimensions. The performance of drummer Kevin K-dog Johnson stands out as well with his highly energetic and eclectic funk grooves.