Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Bobby Avey Makes an Auspicious Debut

Pianist Bobby Avey’s debut album A New Face instantly elevates him into the ranks of formidable 21st century players like Vijay Iyer, Gerald Clayton, and Marc Cary. Intense, forceful and fearless, Avey has a powerful lefthand like Kenny Barron, a fondness for ominous modal excursions and a vivid sense of melody that hovers between the noir, the Romantics and Olivier Messiaen at his most otherworldly. Along with the other members of his trio, bassist Thomson Kneeland and drummer Jordan Pearlson, this album features the always estimable Dave Liebman guesting on soprano and tenor sax on four tracks. The chemistry between players matches the quality of the compositions: if there’s been a better jazz debut album this year, we haven’t heard it.

The opening track, Late November begins with a machine-gun circular motif that Avey eventually leaves to the bass and drums and hovers over with a noirish glimmer – and then takes it down to a minefield of modal incisions on the third verse. Much of this album has a bracing third-stream feel and this is a prime example. Meanwhile, throughout most of the song, Pearlson and Kneeland lock in and hammer with Avey, something they do with considerable relish throughout the album. The second cut, In Retreat is a potently evocative, bitter, brooding ballad, Liebman adding understated grey tones over Avey’s richly melodic crescendos, agitated but completely in control. Kneeland takes it out into the depths with a woundedly syncopated solo. Delusion is a study in understated chromatics and rhythmic shifts, another Kneeland solo early on its quiet highlight. The title track kicks off with a tense, macabre-tinged bass solo which Avey expands eerily – it’s a Sam Fuller film played out in the churchyard at Saint-Sulpice, Liebman playing the role of semi-friendly ghost.

After the stalker intro of Less is Less Than Half, the drums prowl around Avey’s minimalism, building to a crashing McCoy Tyner style lefthand hook that winds up in a hammering, fiery, percussive blaze. By contrast, Influence, a duo piece for piano and tenor, shifts between a golden age late 50s vibe and an uneasily unwinding, ripplingly horizontal piano soundscape. The final cuts here reach genuinely majestic heights. Insight unfolds with Avey hammering on an insistent staccato pedal note, expands to a chromatic vamp that he roams around, eventually a marvelously terse chromatic bass solo, and then it all comes together, glimmering and intense. Likewise, Time Unfolding finally throws restraint to the wind after giving Liebman the chance to rove expansively and then finally plunge into the rhythm section’s staccato syncopation before Avey and then Pearlson take it all the way up. Avey’s ceiling is pretty much as high as he want to go with it. Hope you like traveling, dude.

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August 10, 2010 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , , , , | Leave a comment