Time Out Take Five is a column comprised of pithy takes on recent jazz releases, spotlighting titles deserving attention that might otherwise go unnoticed.
Peter Bernstein/Brad Mehldau/Vicente Archer/Al Foster: Better Angels – Better Angels reaffirms Peter Bernstein’s exquisite sense of taste as a musician and a bandleader. The guitarist acquits himself with great panache on a range of choice material, including four originals of his own juxtaposed with astute selections of outside material like “You Go To My Head.” No one in this esteemed company tries to outplay the others here: instead, pianist Mehldau, bassist Archer, and drummer Foster forge a humble dynamic with the frontman, who never assumes he is the focal point of these proceedings, even when soloing.
Spinifex: Undrilling The Hole – In keeping with the cryptic titles of many tracks–indeed the name of the album itself–Amsterdam-based Spinifex’s ninth release is challenging to hear. But Undrilling The Hole is that rarity of such conundrums, one that consistently piques the curiosity throughout its seven cuts, ultimately compelling and rewarding repeated listening. The sextet wastes no time confronting the listener with a veritable barrage of instruments at the very outset with “Embrace The Contradictions.” Still, it’s simply a harbinger of the demanding yet fulfilling music to come.
Towner Galaher Organ Group: Brothers – While this record sounds wonderfully accessible on first listening, the effect unfortunately lessens with repeated hearing(s). Ironically, that’s due to saxophonist Craig Handy, who was designated a special guest. His prominence throughout makes sense, but his repeated placement as the first soloist becomes predictable by the middle of the LP. Better than keyboardist Jimmy Sanders or guitarist Marvin Horne were allowed to commence the proceedings more often: as on the former’s “Past Present And Future,” such an arrangement would enhance a more productive flow of musicianship.
Anat Cohen Quartetinho: Bloom – Chameleonic as is Anat Cohen, the clarinetist invariably wields the touch necessary to inspire her accompanists. Thus, the cryptic band name was assigned Bloom, where vibist James Shipp, keyboardist Vitor Goncalves, and bassist/guitarist Tal Mashiach became complementary forces with the bandleader and formulated a unified piece of work. Their musicianly bond spotlights not only the virtues within the array of songs comprising the LP, but the production thereof. As a result, the individual and collective understatement in play renders deceptively more resounding the impact of hearing the album.
Warren Wolf: History of the Vibes – In line with Warren Wolf’s career history as a somewhat unsung but authoritative vibist, the concept of this LP unfolds as a series of homages to the bandleader’s chosen instrument plus famous practitioners thereof. As with performances and arrangements of his sole original, “I See You Baby, Looking At Me,” on Lionel Hampton’s “Midnight Sun” and Bobby Hutcherson’s “Herzog,” the frontman simultaneously serves the song as well as his bandmates, all of whom, in turn, do reciprocal justice to the material and the ensemble at large.
