Harry Whitaker, Thoughts (Past And Present) [Smalls]. Whitaker has been a working pianist since he was fourteen, but for much of his career he has concentrated on producing, arranging and serving as musical director for others, including singer Roberta Flack and vibraphonist Roy Ayers. In nine of his compositions, Whitaker’s firm touch, careful chording and absence of pyrotechnics add up to what musicians often call arranger’s piano. In that category he is in good company with people like Gerry Mulligan, Tadd Dameron, Bob Brookmeyer and Gil Evans. The bassist Omer Avital is, as usual, impressive. Another young Israeli, drummer Dan Aran, is particularly effective in his feathery work with brushes. Whitaker’s tunes tend toward modal construction, giving the collection an air of contemplative mystery, which may account for the relief I felt when the record ended with a sunlit F blues called “Blues For The Piano Players.”
Zaid Nasser, Escape From New York (Smalls). At times Nasser’s playing resembles that of Paul Gonsalves, notably on “Warm Valley” and “Sophisticated Lady,” the two Ellington compositions here. However, this alto saxophonist with a fat tenor sax sound and a post-post-bop ethos goes beyond slippery Gonsalves chromaticism. He edges into avant garde territory without surrendering to licentiousness. As producer Luke Kaven points out in his notes, the spirits of such players as Junior Cook and Clarence “C.” Sharpe inhabit Nasser. His speedy “Junior’s Soul,” a frolic through the changes of “Body and Soul,” is a hoot. I admire the chutzpah and humor of a young man who can have fun with a 97-year-old chestnut like “Chinatown, My Chinatown” without poking fun at it, a trait reminiscent of Sonny Rollins. Nasser’s rhythm section players are perfectly attuned to him. They are Sacha Perry, piano; Ari Roland, bass; and Phil Stewart, drums. Zaid is the son of Jamil Nasser, the formidable bassist formerly known as George Joyner. I didn’t know that Nasser the younger existed until this CD materialized. I’m glad that he does.
Ari Roland, And so I lived in Old New York (Smalls). Roland’s own album includes Perry and Stewart, along with tenor saxophonist Chris Byars, the group with which he toured in Russia this year. Their experience together is apparent in relaxed performances of seven original compositions, all by Roland with collaboration by Perry on one and Byars on another. It’s his CD, so Roland takes a fair number of solos, but the bass doesn’t overwhelm the proceedings. His time and note choices in the ensemble are solid. When he uses the bow in solo, he swings and has a full tone and good inflection; none of the sagging notes with which jazz bassists often do themselves in when they go arco. Pianist Perry and saxophonist Byars construct solo lines that have continuity and flow, with Perry under the spell of Bud Powell. Good brush work from Stewart. Nice album.
Fabio Morgera, Need For Peace (Smalls). Pleasant generic playing–and sometimes better than that–from Morgera, an Italian trumpeter in the US for twenty years. On several tracks his work, evidently inspired by Miles Davis, alternates with vocals by guest singers. His best moments come when he ditches the singers and the synthesizer and plays with just the rhythm section on Jobim’s “Portrait in Black and White” and his own “All Alone.” Between irritating vocal passages by Miles Griffith, Morgera constructs a lovely solo on Thelonious Monk’s “Friday The 13th.”
Doug Ramsey on Jazz and other matters...
