Harry Carney, Look What You Spawned

Similar to the Microscopic Septet’s take on Monk, arrangement-wise if not necessarily in spirit, the Mark Masters Ensemble puts baritone maestro Gary Smulyan out in front as part of a sax quintet plus rhythm section on their recent Capri release, Ellington Saxophone Encounters. The obvious question is why bother? Comparisons to the originals, some iconic, some lesser-known, will inevitably surface – a drive back to Manhattan from a New Jersey studio fairly proximate to where some of these tunes were first recorded, with Midnight at Minton’s blasting all the way, was probably not the optimum way to set up a spin of this album. But these songs are great fun, the band bringing a terse, businesslike approach to Masters’ new charts as well as to individual solos.

Alongside Smulyan – a hard bop guy all the way, but also a first-rate bluesman, as he reminds here – there’s Gary Foster and Pete Christlieb on tenors, Gene Cipriano and Don Shelton on altos, Bill Cunliffe on piano, Tom Warrington on bass and Joe LaBarbera on drums. To be precise, there are only three tracks here by the Duke himself, though most of them are associated with the Ellington band. Esquire Swank is the first tune, which interestingly does remind somewhat of the Micros, a distantly moody, proto-Monk swing number that Smulyan gets gritty with immediately. The jump blues benefit the most from Masters’ approach, notably Johnny Hodges’ Lawrence Brown Blues, with its purist Cunliffe and Shelton solos. Jimmy Hamilton’s Get Ready also features some tasty pairing off between individual voices and the ensemble. Rockin’ in Rhythm is ablaze in goodnatured jousting and swirling, more than alluding to its dixieland roots. And the best of all of the tracks here might be Jeep’s Blues, matter-of-factly swinging through the classic Ellington combination of magisterial classical, bright ragtime and deep blues elements.

The straight-up swing stuff – Paul Gonsalves’ The Line Up and The Happening, as well as an artfully crescendoing take of Hamilton’s Ultra Blue – typically follows a sequence of lively solos. The ballads offer even more of a platform for this, whether wry or wistful. Smulyan gets vividly nostalgic on Carney’s We’re In Love Again, while Christlieb’s understated pensiveness carries Ben Webster’s Love’s Away. Then the band reaches the top of the arc on Hodges’ Peaches, Shelton to Cipriani to Christlieb for an increasingly high-voltage triple play. Fans of Ellingtonia won’t be disappointed; the Duke himself would no doubt approve.

The JD Allen Trio’s Landmark VICTORY! Out May 17

The JD Allen Trio’s new album VICTORY!, out on May 17, is one of those rare albums that stands to influence an entire generation of players. But that’s not the reason why it’s worth hearing: it’s because it’s such a good listen. Emotionally impactful and surprisingly diverse, it’s the most eclectic release so far by this extraordinary tenor sax-bass-drums unit who’ve been making potent albums since 2007. The group play the cd release show on May 18 at 7:30 PM at le Poisson Rouge.

The JD Allen Trio’s 2007 debut I AM I AM didn’t just explode out of nowhere – the tenor saxophonist and bandleader had been a sought-after sideman since the 90s. But it was an explosion, and four years later validates the fact that we called it a classic at the time. The new album seems to be the third and possibly climactic chapter of a triptych that began with I AM I AM and continued with 2009’s Shine! Allen disarmingly calls his compositions “jukebox jazz,” continuing the tradition of guys like Monk and Brubeck, whose compositions were as catchy as they were cerebral, and who sold hundreds of thousands of them as 45 RPM singles. Taking the form of a classical sonata – a theme and variations which end conclusively – the new album offers twelve succinct, interwoven compositions. With its direct, unflinchingly intense central theme which itself refers back to I AM I AM, this album takes the intensity of that album’s breakthrough suite to the next level, and on to its logical conclusion. Yet while all the rigor of I AM I AM is also in full effect here, this new album explores considerably more emotionally and musically diverse terrain. And it ends optimistically.

The title track sets the tone for much of the album, dark enigmatic minor-key gospel beauty played out against the stately insistence of the rhythm section, bassist Gregg August and drummer Rudy Royston. Royston’s aggressive introduction offers no hint of the balmy swing that emerges on the second track, The Pilot’s Compass, Allen interjecting commentary as August pulses and Royston supplies his signature, muscular rumble. They follow with the darkly biting, minor bluesy The Thirsty Ear and then the broodingly potent, ominously modal Sura Hinda, Allen’s solemn vibrato adding extra gravitas. As on I AM I AM, August gets an enviable role to play throughout the album, notably on The Learned Tongue as he shadows Allen while the drums go rubato, or on Philippe Petit – a homage to the World Trade Center wirewalker – where his serious, bowed lines, equal part triumph and terror, balance against Royston’s playful intricacies and Allen’s calm, steely optimism.

The simply titled Motif allows Allen and Royston to take the theme further outside as August sits out. Fatima allows a playful element to creep in over Royston’s nimble shuffle; Mr. Steepy enters with unexpectedly blithe swing blues, Allen running eighth notes a la Ben Webster, Royston eventually cutting loose with a grin and crowding everyone out of the picture. The album winds up with three unexpected shifts: a Harold Arlen-esque ballad; The Hungry Eye, centered around a vividly off-center bass solo; and the final track, reprising The Pilot’s Compass and elevating it to a rare sense of joy, ending suddenly with a bit of a wink. It could be the high point in a career of a group whose trajectory is still on the upswing.