Two-time Grammy-nominated pianist and composer Orrin Evans is known, aside from his many musical talents, for his outgoing, welcoming personality. It’s not surprising to see his “open door” policy that has seven guests joining his core quintet. Together, these musicians cover plenty of ground. The title, in this writer’s view, equates to the late Wayne Shorter’s famous phrase that “jazz means I dare you.” That’s because the red door signifies danger, mystery, and temptation, especially for one like Evans who grew up in the Pentecostal church. Evans sees it two ways, commenting that it can also mean beauty. So, maybe the proper way to view it is just taking the opportunity to discover something new.
One of the first things you’ll notice is that the liner notes are written by Ethan Iverson, a co-founder of The Bad Plus who passed the baton to Evans. That’s a classy gesture. Evans connects to several of his major influences in gathering this cast. The core quintet is trumpeter Nicholas Payton, saxophonist/flutist Gary Thomas, bassist Robert Hurst, and drummer Marvin “Smitty” Smith. Several tracks have a core trio of legendary bassist Buster Williams and veteran drummer Gene Jackson, both of whom have ties to Herbie Hancock. Philly living legend and Evans’ mentor, tenorist Larry McKenna joins that group on one track, and the late trumpeter Wallace Roney appears in his last recording on another. Three vocalists join as well – Jazzmeia Horn, Sy Smith, and Alita Moses.
Beginning with the title track that Evans first recorded with The Bad Plus on 2019’s Activate Infinity. The presence of Payton and Thomas gives it a much different feel. The next two, “Weezy” and “Phoebe’s Stroll” are named for his two godchildren Eloise and Phoebe. On the former Payton plays a muted trumpet and Thomas shine on the flute while on the latter they pare down to a trio, rollicking on a funky groove with Evans’ unpredictable, sometimes off-kilter piano style showing brightly in his solo.
While it’s long been a goal of Evans to record with his mentors, saxophonist Bootsie Barnes passed due to COVID, yet the other, saxophonist Larry McKenna’s warm, old-school tenor tone imbues the stretched-out ballad, “The Good Life,” which also features robust bass playing, including a solo from Buster Williams and tasty accompaniment from drummer Gene Jackson. As mentioned, although both have ties to Herbie Hancock, the two of them had never played together with Herbie, only playing here as a tandem for the first time. Later the trio renders the standard “All the Things You Are,” which features the late trumpeter Wallace Roney’s last bow, as it was tracked two days before lockdown and two and half weeks before Roney passed. Evans’ piano solo renders the tune practically unrecognizable until the melody emerges near the end. Again, Buster Williams shines in his sturdy pizzicato work.
There are two other trio tracks from the Evans-Hurst-Smith unit, the first a surprising selection, the brightly melodic “Dexter’s Tune,” penned by Randy Newman who did it as a solo piano feature in the 1990 film Awakenings, which had a cameo from tenor titan Dexter Gordon. The other is the closing track, Roger Kellaway’s “I Have the Feeling I’ve Been Here Before,” a very melancholic, reflective, almost tearful goodbye with Evans lingering on each note played. Perhaps it’s in remembrance of those that recently passed. In that vein but with a fiery, unbounded free jazz approach, the quintet takes on the late Geri Allen’s “Feed the Fire” and Ralph Peterson Jr.’s “Smoke Rings.”
The three vocalists, true to the eclectic nature of the album, go in different directions too. Jazzmeia Horn, known for her scatting skills, becomes more the spoken word artist reciting Bill McHenry’s lyrics for the 12-bar blues of Evans’ “Big Small,” which first appeared on his 2012 Flip the Script. The always energetic Sy Smith is at her soulful best on Geri Allen’s arrangement of “Amazing Grace” and Alita Moses slows down Stevie Wonder’s “They Won’t Go When I Go” into a sublime revengeful statement, duetting with Evans. We need to hear more from this young vocalist.
The surprise quotient is a key to Orrin Evans’ varied arsenal. He’s pulled out more than a few here as he generously shares the spotlight with eleven others.
