The Cookers’ David Weiss Reinvents Some Late 60s Gems
Continuing with today’s “why would you want to make a record of somebody else’s tunes” theme, Cookers trumpeter David Weiss has gone the route of reinvention and reassessment with his quintet Point of Departure on their latest album Venture Inward, due out on the 26th from Posi-Tone. It’s both a look back and a step forward from the melodic 60s postbop sounds that Weiss loves so much. This group follows the Cookers’ blueprint both for starpower, with JD Allen on tenor sax and Nir Felder on guitar, and for having a monster rhythm section, bassist Luques Curtis and drummer Jamire Williams, to match Weiss’ other group’s veteran team of Cecil McBee and Billy Hart. Williams in particular owns this record. Given a lot of chances to cut loose, he adds grit and drive and wit in places, particularly on a long, surreal, rather droll solo on the second track. Having seen him play in many different contexts, this is one of his great achievements.
To open the album, Herbie Hancock’s I Have a Dream gets both expanded and a lot more tightly wound – in both senses of the word – bristling with solos from Weiss, Felder and then Allen in surprisingly nonchalant mode over Williams’ curb-dusting assault. The horn counterpoint as Williams spins on a dime midway through is an artful treat. Miles Davis’ Black Comedy is a workout for tight horn harmonies as well as for a muscular performance from the rhythm section.
The first of two Contemporary Jazz Quintet pieces, an epic take of trumpeter Charles Moore’s Number 4 begins scurrying but moody, a launching pad for Allen’s signature blend of intensity and judicious tunefulness before Weiss chooses his own spots while Williams builds an almost imperceptible trajectory upwards. The group loosens as Felder goes exploring but never loses the swing, even when it seems they’re going to pull into a parking space for a second.
Two Andrew Hill compositions are included as well. Allen gets vividly restless on the first solo on Venture Inward – it’s as long as many of his own songs – before Weiss moves in for another long, thought-out excursion. The Hill ballad Pax floats along with a rather somber, rainy-day ambience before Felder spikes it and then Allen takes it in a more seductive direction. The album winds up with the second Contemporary Jazz Quintet piece, Snuck In, replete with moody tension, scampering swing, purposeful postbop scampering from Weiss and darker, similarly measured contributions from Allen and Felder. Besides being great fun to hear, albums like this serve a lot of useful purposes: they make you want to revisit the source material, or discover it for the first time, not to mention keeping it alive for a contemporary audience.