When we last visited guitarist Tom Guarna, he was leading an all-star quintet and paying tribute to Kofi Burbridge in 2020’s Spirit Science but on this outing, his seventh, Reimagine, Guarna opts for a simpler configuration, the classic organ trio format of guitar, B3 organ, and drums. You may have noticed the word ‘classic’ appearing twice in the headline yet in some respects that could be misleading as we typically think of organ trios in the soul-jazz, boogaloo context which is not what Guarna’s trio offers here. Instead, they reshape a broad array of classic jazz tunes from well-known composers such as Lenny Tristano, Clifford Jordan, McCoy Tyner, Donald Byrd, and more. Joining Guarna is the under-recognized but masterful organist Pat Bianchi and drummer Jason Tiemann.
During the lockdown, the three would gather to play in Guarna’s yard, eventually fine-tuning this repertoire when the pandemic lifted, in a small club, Hermana, in NYC’s East Village. The trio commences their nine-song set with McCoy Tyner’s “Three Flowers” (first released on Tyner’s 1964 Today and Tomorrow) with Guarna playing the fluid melody. Close listening will reveal a sequence that sounds much like “My Favorite Things,” which is not surprising given that Tyner was still playing with John Coltrane during that period. “We Six” is from Donald Byrd and appears twice, also as an alternate take for the closer. This is also a very up-tempo post-bop tune with Guarna making fluid rapid runs to Bianchi’s comping. Tiemann chips in on the eights. The tune was composed during Donald Byrd’s early period and appears on Paul Chambers’ 1957 Blue Note Whims of Chambers with this stellar lineup – Chambers, Philly Joe Jones, John Coltrane, Kenny Burrell, and Horace Silver.
The trio churned at locomotive speed through these first two tracks, so a ballad was clearly in the wings as the trio renders a delicate, warm, extended version of Harry Barris and Gordon Clifford’s “I Surrender Dear,” that features extraordinary chording, unison playing, and soloing from Guarna and Bianchi. However, Tiemann’s steady snare beats, to this writer, seem too prominent in the mix given the nature of the tune. Interestingly, the song dates to 1931 and was the first major hit for Bing Crosby. Hard bop resumes with Clifford Jordan’s “Glass Bead Games” from Jordan’s 1974 album of the same name. This proves to be a launching pad for Bianchi especially and he and Guarna vigorously trade lines while giving Tiemann his say as well. The beautifully melodic, languid standout “Who Does She Hope to Be” ironically comes from Sonny Sharrock, an avant-funk guitarist who favored noise, fuzz, drones, and hints of metal in his playing but was also capable of laying down terrific melodies, this being his foremost example. And Guarna plays it his way, with an emphasis on distinct single notes, without any of the aforementioned Sharrock characteristics.
The flat-out bebop “Victory Ball” is from pianist Lennie Tristano and its most famous rendition is from a January 3, 1949, recording session of the Metronome All-stars which was a 13-piece unit that included trumpeters Miles Davis, Dizzy Gillespie, Fats Navarro, and saxophonist Charlie Parker. Needless to say, Guarna’s trio swings hard on this one. McCoy Tyner’s oft-covered ballad “Search for Peace” is the complete opposite in terms of tempo, as Guarna sustains the beautiful notes above Bianchi’s undulating swells before the organist and guitarist switch leads while Tiemann thankfully opts for brushes to heighten the tune’s deep spirituality.
“Dubai” is the title track from drummer Billy Drummond’s 1996 album of the same name that featured a quartet that had two saxophonists – Chris Potter and Walt Weiskopf with bassist Peter Washington. As such, Guarna’s initial guitar tone is different, almost resembling that of a saxophonist. Bianchi alternates between an underlying chordal structure and unison playing with Guarna to reflect the twin horns of the original. The alternate take of “We Six” is similar in terms of swinging tempo but has Guarna and Bianchi swapping more lines and uses several double stops in the first section.
The beauty of this recording is the inspired playing and the inventive arrangements, especially considering only one of the tunes was composed by a guitarist. Guarna’s trio has not only reimagined a set of tunes but has reimagined the conventional concept of the jazz organ trio.
