Ray Commiskeylooks favourably on this week's trio of albums.
BERGEN BIG BAND, THE CORE
Meditations On Coltrane
Grappa
****
The last Coltrane album released while the artist was still alive, Meditations, radically divided critics. Perhaps this will do the same; for me, however, it's a gripping demonstration of how, 40 years on, contemporary jazz musicians can draw sustenance from him.
Arranged by Vidar Johansen, it combines The Core - Kjetil Møster (tenor), Erlend Slettevoll (piano), Steinar Raknes (bass) and Espen Aalberg (drums) - with the BBB on the five-part suite.
Despite only two days of rehearsal, the combined groups work remarkably well; Johansen's orchestrations build impressively on the simple foundations of each "movement" and the music is played with extraordinary energy, with Møster and Slettevoll outstanding, and notable contributions from some of the BBB's soloists.
Maybe it was the carpe diem atmosphere of live recording, but this comes across as a powerful, passionate statement.
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RAY COMISKEY
LIBBY YORK
Here With You Libby
York Music
***
As befits her acknowledged influences, Chris Connor and June Christy, York's is an intimate, conversational style, with the Great American Songbook her natural habitat. It's a laid-back approach, ideal for her dark, mature voice, impeccable phrasing and irreproachable swing.
Given that the small group here is based around Howard Alden (guitar) and Warren Vaché (cornet), with just bass and drums, it's no surprise that they groove so well, turning such songs as Look For the Silver Lining, The Things We Did Last Summer, You Go To My Headand I Love Being Here With Youinto sunny, warm experiences.
The closest she comes to angst is the feeling of a "that's life" shrug she imparts to For All We Know, one of three polished duets with guitarist Russell Malone, and a fine But Beautifulwith Alden and Vaché (who is in great form throughout the album).
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SIMON SPILLETT
Sienna Red
Woodville
***
Spillett's debt to the subject of this tribute album, Tubby Hayes, is clear, but there are differences; his phrasing and relation to the beat are different, he has his own way through the changes and, probably, fewer favourite runs than the late tenor saxophonist. And, if anything, he's even more virtuosic.
Using material by or associated with Hayes, he's in ebullient form, with his fine working quartet of John Critchinson (piano), Andy Cleyndert (bass) and Spike Wells (drums) on this straight-ahead blowing session.
It's consistent, swinging, bop-to-mainstream playing, though Spillett tends to double-time a lot and the routine is generally solos and a tenor-drums chase. But it's enjoyable, and Spillett reveals the more restrained side of his playing to great effect on Ricardo, a medium-slow bossa, and Lalo Schifrin's ballad The Right To Love. One for fans.
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