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CD Review
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Nashville City Paper, CD Review >>
Drummer Steve Reid heads a skilled group of African and European musicians on Daxaar (Domino), a set that moves back and forth between funky fireworks and experimental outside moments. Reid’s long resume includes periods with both jazz renegades and funk/soul perennials, and he can do anything needed from establishing and maintaining a percolating groove to spearheading frenetic exchanges.
While trumpeter Roger Ongolo provides the brass fireworks, Reid and percussionist Khadim Badji take care of the bottom end, while guitarist Jimi Mbaye, keyboardist Boris Netsvetaev and electronics wiz Kieran Hebden alternate between aiding and stretching the fabric.
Neither completely on the edge nor strictly a dance or R&B date, Daxaar instead presents Steve Reid at his best in both contexts.
Pianist John Chin plays with confidence and authority on Blackout Conception (Fresh Sounds), a new release that includes three stellar trio pieces and four other numbers with superb tenor saxophonist Mark Turner’s thrusts, statements and carefully developed solos adding an extra and memorable voice to the setting.
Chin capably develops the central melody on Kenny Barron’s “Lullaby” and Billy Strayhorn’s “Passion Flower” before zipping out to develop his own lines and direction. He makes his mark within the pieces in steady, resourceful fashion, while bassists Alexis Cuadrado or Chris Higgins (“Joanne Julia” and “Some Other Time”) team with drummer Bill Campbell in steadily following his course, complimenting his shifts and reuniting with him during the final choruses.
It is well-played, first-rate mainstream material, with enough surprises included to keep listeners attentive throughout each piece.
Tenor saxophonist Chuck Manning takes a similar approach on his horn during his spotlight segments on Notes From The Real (TCB).
When interpreting Coltrane’s “Dear Lord” or Monk’s “Eronel,” Manning makes no missteps, playing crisp, clean lines in decisive fashion and demonstrating his skills without requiring excessive or unnecessary effects and mannerisms to illustrate the point. He’s just as credible on “I Didn’t Know What Time It Was,” “Change Partners” or “I Believe In You,” giving listeners both a clear idea of the original work, then creating a smooth and effective personal direction through his solo.
It’s straightforward, though far from detached or formulaic quartet date, as drummer Tim Pleasant, bassist Isla Eckinger and pianist Jim Szilagyi also each have prime moments (Szilagyi is outstanding as the secondary soloist), and what could have just been another routine bit of ballads, standards and blues is instead upbeat and swinging.
-- by Ron Wynn 03/10/08 >> go there
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