First Meeting is a collaboration of four top jazz artists on their respective instruments, each receiving equal billing for their three-night engagement at Dizzy’s Club at Jazz at Lincoln Center in August 2022. Although the title “First Meeting” is accurate, pianist Gonzalo Rubalcaba, saxophonist Chris Potter, and drummer Eric Harland were part of the Monterey Quartet along with bassist Dave Holland, who performed at the Newport and Monterey Jazz Festivals in 2007, subsequently issuing an underrecognized live album. Hence, most were familiar with each other. The ‘new member,’ bassist Larry Grenadier, a longtime member of Brad Mehldau’s Trio, has recorded with Harland and toured with him for the past two years as members of Charles Lloyd’s Quartet.
The double album contains just six long-form pieces, a member credited to each of four, with a cover of Chick Corea’s “500 Miles High” and the club’s namesake, Dizzy Gillespie’s “Con Alma.” Potter mentions in the liner notes that any one of them is capable of ‘fireworks,” but that’s not what this session was about. It’s a shared commitment to exploration that remains mostly controlled rather than rambunctious in this all-acoustic session.
Rubalcaba, one of the great Cuban pianists who has adapted well to improvisational jazz in many settings (this is his 17th release on his label, 5Passion Records, although he is not the leader here), plays with intricate exactness while being expressive. Potter’s lines are fluid and as inventive as ever. If you were blindfolded, you might very well think this is a Potter album. Though appearing calm and rather ordinary in terms of physical persona, Potter’s superb virtuosity has him dominating almost every time he takes to the bandstand.
Grenadier proves again to not only be stalwart rhythmically but also has a melodic knack that’s superior to most. Harland is one of the most in-demand drummers on the scene, Lloyd’s drummer of choice for almost three decades now due to his high sensitivity and command of dynamics. Each voice comes through so well, and having a live audience adds energy and immediacy to the mix.
Rubalcaba takes a deliberate, bright intro on “500 Miles High,” followed by Potter’s long, sustained lines on tenor that grow in intensity as he improvises freely. Harland’s use of snares and toms underpins with authority. Grenadier steps in, dialoguing with Harland for almost two minutes, yielding to the pianist before Potter rejoins to embellish the theme in one final thrust on soprano. Grenadier’s “State of the Union” is a mid-tempo reflective, melancholy piece featuring Potter on soaring soprano with ample room for the bassist to express himself in an early turn. Rubalcaba takes a rambling, unpredictable journey to Harland’s skittering snares midway through, with Potter’s sweet tones fading it out . Harland’s “Eminence” begins with his inventive three-minute intro, followed by the pianist’s sprinkling of chords and notes over Grenadier’s bowed bass. Potter makes an emphatic Coltrane-like entrance on tenor and proceeds blowing spiritually but briefly before surrendering to the trio, who continue their contemplative, riveting march as Grenadier plays counterpoint to the pianist’s improvisations that go ‘out.’ Potter creeps in, playing in the low register, before reaching outward in free jazz mode. Yet, the piece decelerates to a calm close.
Disc Two begins with “Con Alma,” Rubalcaba taking an intro before the Afro-Cuban groove sets in. At 18 and a half minutes, each member stretches out freely, especially Potter on the soprano and Rubalcaba, for whom this is one of his most exemplary of the six. In turn, Potter’s “Oba” proves to be an excellent vehicle for his ever-inventive twisting and spiraling tenor excursions, the first extending for over six minutes before passing to Grenadier and Harland’s rhythmic trading. Rubalcaba makes a brief statement before Potter returns in a staggered, fierce fashion for his final bow. Rubalcaba’s “Santo Canto” understandably carries an Afro-Cuban groove, rendered ambly by the bass-drum tandem as the pianist explores freely. Potter only enters at the six-and-a-half minute mark, helming the rhythmic Latin melody while embellishing it, reaching every key of his horn. Though one might expect an explosive climax, this one, too, fades gently.
This music is well crafted, controlled, and spontaneous at the same time, making for an intriguing listen.
