Brooklyn-born pianist/composer Randy West, at 6' 7", is an imposing figure at the keyboard. Though early influences remain strong - Basie, Parker, and Monk - his lengthy African sojourn (1967-73) brought him the joyous discovery of new themes and rhythms, which soon became integral to his piano artistry. These elements are evident in this 1975 solo outing, one of a sequence of solo performances from that period, notably with the punctuated "Blues to Senegal", the tranquil delineation of an "African Nite", or the shifting rhythms of "Jejouka". All compositions are Weston originals, except his tip of the musical hat to Gillespie's "Con Alma". Valued as much as a composer as performer - "Little Niles", "Berkshire Blues", "Hi-Fly", "Saucer Eyes" - many of his works have become standard fare for jazz musicians. JS

Owl 001

The Bley / Giuffre / Swallow CD (1989) is a companion disc to one reviewed on a previous listing (The Life of a Trio: Saturday) for this web site. The three-way conversation of Guiffre's serpentine clarinet or soprano with Bley's piano and Swallow's bass lines creates an effortless feeling of "serenity and detachment" whatever the register or tempo. The absence of percussive urgency and the freedom of total improvisation foster an aura of unpredictability. One segment seems to flow into the next quite naturally, as do the shifts from solo to duo to trio. Nevertheless, the music is pleasingly provocative, timeless, texturally varied. JS

Owl 060

With bassist Avishai Cohen and drummer Jeff Ballard, Corea returns to the group format that best accentuates his melodic inventiveness and innovative keyboard range. This is especially true on his less hurried balladic selections - "Dignity", "Nostalgia", or Waller's "Jitterbug Waltz" with his playful excursions around the theme. Rhythm accompaniment, totally in sync, is powerfully present throughout; with piano working against the strong pulse of bass and drums on "Cloud Candy", stirring up a Latin beat to "Rhumba Flamenco" or "Anna's Tango", or capturing old memories in "The Chelsea Shuffle". The title tune, most carefully structured piece, unfolds against a solid melodic core. JS

Stretch SCD 9035-2

From the outset, pianist Benny Green acknowledges his wish to pay homage to many of the influences that have shaped his keyboard style, from the striding "I've Heard That Song Before", the Garner lag of "I Wish You Love", the finesse of Teddy Wilson with "Someone To Watch Over Me". The selections chosen are "…songs I love…", a mix of familiar standards and items paying tribute specifically to Waller "Ain't Misbehavin' ", Garner "Misty", Ellington "It Don't Mean a Thing"/"I Got It Bad". He is equally adept with the blues or bop, adding Tatumesque runs to "Just You, Just Me", fashioning his own original "Green's Blues" with the precision of a Ray Bryant, bopping playfully on "Green Eyes". He is always entertaining, capturing the melody of a song with flair and fidelity. JS

Telarc CD-83539

Saskatchewan-born pianist Jon Ballantyne, now a resident in New York City, is joined here by Dewey Redman - tenor/alto, Douglas Yates - bass clarinet/alto, Jeff Hirshfield - drums on tracks 5 to 10, Gene Jackson - drums on tracks 1 to 4 & 11, and Boris Kozlov - bass on quintet renderings of 11 Ballantyne originals. No time signature is indicated for any number.* The music is full of surprises, ranging from the discursive ride between tenor/bass clarinet on the opening "Round Again", a fragmented, polyrhythmic "Interlude" (drums only) leading to the bitter/sweet sax with "In Dew Time", the pulsating propulsive ness of "Go Local", to the dramatic materializing of the timeless beauty in "Anne's Dream", the delicately detailed simplicity of "N Chant". There are no clichés here. Warrants repeated listening. JS

* Track times: 1 - 5.35. 2 - 6.47. 3 - 1.35. 4 - 5.52. 5 - 6.58. 7 - 5.41. 8 - 5.25. 9 - 3.53. 10 - 4.54. 11 - 7.10.

NY Jam NYJAM-2003

This debut disc by pianist Roberts is a quintet setting recorded in Montreal with reedman Seamus Blake, vibraphonist Stefan Bauer, bassist Fraser Hollins, and drummer Karl Jannuska. All compositions are Bryn originals, except the opening "Spring is Here", given a jaunty 7/4 metre arrangement. The selections are well balanced texturally and dynamically, with each player given ample opportunity to express himself. Soprano, piano and vibes gently unfold the lines of "Handwriting" or give an introspective energy to the unusual harmonic concepts inspired by Alexander Scriabin with "Forty", while Blake captures the balladic beauty in "Beneath the Surface" and the free-flowing spontaneity of "Present Tense" on tenor. The 3 brief "Improvisations" serve as strategically placed interludes between numbers. An impressive first outing for this pianist/composer. JS

Disques BMR 001

Despite pianist Mehldau's lengthy liner note explorations of the dichotomy existing between language and music, I must perforce respond with the former (i.e. that is language). Recorded live at the Village Vanguard with the consummate support of Larry Grenadier - bass and Jorge Rossy - drums, the selections, both standards and originals, invariably develop from the opening thematic statement, often flirting with a melody unpredictably "The More I See You", injecting quirky rhythms and inventive improvisations "Dream's Monk", or changing the lyrical core with a blistering sequence of runs "It Might As Well Be Spring"/"Sublation". Yet the adaptive versatility of the pianist is reflected in the beautifully understated melody eked out with "The Folks Who Live on the Hill" or the gently shifting moods of "Secret Love". Always, Mehldau exhibits an amazingly controlled dexterity whether easily incorporating a blues-oriented mood to "Cry Me a River" or toying with sudden rhythmic changes "Long Ago and Far Away". Played before a responsive audience. Highly recommended. JS

Californian vibist Bobby Hutcherson arrived in NYC in the early 60's, at a time when "Everyone was exploring…everyone was writing". Recording with the likes of such avant-garde performers as Eric Dolphy and Jackie McLean, he had soon gained the reputation as a vibrant, challenging artist, "…dissonant but lyrical, methodical but unpredictable, swinging…at all times…". This date (1965), his first as a leader, took the vibes to new, daring levels, featuring his harmonic skills in the strong interplay of his cohorts Freddie Hubbard - trumpet, Sam Rivers - reeds, Andrew Hill - piano, Richard Davis - bass and Joe Chambers - drums. The session was well titled, and such numbers as "Catta", "Les Noirs Marchant" or "Ghetto Lights" capture the energy of the group's dynamics in fashioning music that still remains fresh and exciting. A bonus track, "Jasper", catches the sextet in a more traditional mode. A welcomed reissue JS

Blue Note 7243 5 35586 2 8

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