Dark Latin Jazz Intensity from Gregg August
Gregg August validates the theory that a good bass player always has a gig – to the extreme. He’s as comfortable servimg as first chair bass of the Brooklyn Philharmonic, or with the Orpheus Chamber Orchestra, as he is with the JD Allen Trio and Quartet and with his own bands. Versatile as August is, his passion is latin jazz. In his world, that extends to Spanish music, a genre he knows a little something about, having first honed his symphonic chops with orchestas in Spain. His playing is terse, direct and hard-hitting: much as he has chops to rival anyone’s, he chooses pulse and melody over any kind of gratuitous display. Because of that, it’s refreshing to hear his instrument as prominent in the mix as it is here: he invariably leaves you wishing for more. His compositions are nimble, energetic, and relevant: August does not shy away from darkness or from confronting issues of justice and social inequality. His new album Four by Six is not lighthearted, but it is often exhilarating. Here most of the tracks alternate between his quartet with Sam Newsome on soprano sax, Luis Perdomo on piano and E.J. Strickland on drums, and with his sextet with Rudy Royston on drums plus Perdomo, Yosvany Terry on alto sax, John Bailey on trumpet and Allen on tenor.
The album opens with Affirmation, an acerbic, somewhat acidic strut for the quartet. Newsome throws some elbows and they swing it back and forth. Another quartet tune, For Calle Picota is catchy as hell – it has the same kind of majesty and gravitas and economy of notes that Allen is known for, Strickland and Perdomo working toward a salsa swing as Newsome somersaults amiably.
For Max, the first of the sextet numbers, begins with a lush, flamenco-esque chart straight out of the Gil Evans book circa 1959 that Perdomo and then Allen follow in the same vein. The slowly slinking bass solo as the horns rise majestically over August’s roaring chordal pedalpoint is nothing short of transcendent. By contrast, Bandolim shifts quickly from a lively, tricky ensemble tune to free and spacious, with some marvelously judicious work from the whole band over whispery, nebulous rhythm bookended by sudden bursts of swing.
Newsome stars on the pensive salsa swing of Strange Street, taking his time achieving altitude, handing off to Perdomo, who goes for loungey and then lets August take it deep, deep into the shadows: his nonchalant chromatics are absolutely chilling. A Ballad for MV follows: the two pieces are essentially a diptych, this one more boisterous, Strickland’s clenched-teeth cymbals refusing to let go as Newsome sails apprehensively and Perdomo holds it down with a moody glimmer.
Relative Obscurity, for sextet, quickly shifts from a lushly syncopated horn chart to unchecked aggression by Bailey and then tensely hypnotic circularity from August. The album ends with a low-key, brooding knockout, For Miles, opening as a morose jazz waltz driven by Perdomo’s Satie-esque minimalism, Terry taking it just short of a triumphant hail-mary pass but instead alley-ooping to Perdomo who takes it up…and then down again into the eerily glimmering depths. August plays the album release show for this one at Birdland at 6 PM on Dec 6 with a slightly different cast; he’ll be at Shapeshifter Lab with the quartet on Dec 14 at 8 PM.
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