Richard Galliano Brings His Meticulous, Animated Accordion Jazz to the Jazz Standard

As obscure subgenres go, accordion swing is pretty close to the top of the list. Accordionist Richard Galliano tackles that methodically and animatedly on his latest album, Sentimentale. He’s celebrating the release with a four-night stand leading a quintet at the Jazz Standard,Oct 23-26, with sets at 7:30 and 9:30; cover is $25, $30 on the weekend, Galliano is known for his ability to effortlessly leapfrog between idioms, from the baroque to tango to Romany jazz without missing a beat. This time out, he leads a pretty straight-ahead jazz session with Tamir Hendelman (the Clayton-Hamilton Jazz Orchestra pianist, who wrote most of the arrangements), guitarist Anthony Wilson, bassist Carlos del Puerto and drummer Mauricio Zotarrelli.

Much of it is a 21st century update on how French and Belgian musicians were mashing up American jazz with their own vaudeville and barroom folk sounds back in the 20s and 30s, notably the opening track, Chick Corea’s Armando’s Rumba, which puts a continental spin on a song that was already a bit outside the Afro-Cuban tradition. The group immediately brings it down from there, adding an organic touch to Dave Grusin and Lee Ritenour’s Canto Invierno, then tackling Ellington’s In a Sentimental Mood with a lilting rhythm yet also with a similarly distant pensiveness – the accordion is one of the alltime wistful/bittersweet instruments, and Galliano owns that feeling when he chooses to go there.

Galliano’s take of Horace Silver’s The Jody Grind draws less on the original than Dee Dee Bridgewater’s boisterous version; likewise, the Broadway ballad Why Did I Choose You follows Bill Evans’ coloristic reharmonizations. There are two originals here, the jazz waltz Balade Pour Marion and the closing cut, Lili, a tender ballad dedicted to Galliano’s granddaughter and done as a guitar-accordion duo. Hendelman’s arrangements are remarkably contiguous, more than just a platform for soloing, which there isn’t a lot of here.

The group gently bounce their way through The Island and Verbos de Amor, adding some bulk to the songs’ tropical balminess, then pair hard-charging swing with more pensiveness on Plus Fort Que Nous. They do the Coltrane classic Naima as surprisingly weird psychedelia with a guitar sitar (?!?), then go back to the tropics with Mantiqueira. All this is a good indication of what the band will sound like here, maybe allowing for a little more guitar, which won’t be a bad idea since Peter Bernstein will be filling that spot.

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Tamir Hendelman’s New Album Packs a Punch

Tamir Hendelman is the pianist in the Clayton-Hamilton Jazz Orchestra. His hard-hitting, intense new album Destinations firmly establishes him as a force to be reckoned with as one of this era’s cutting-edge jazz piano stars: Vijay Iyer, Gerald Clayton, Dred Scott and Marc Cary. Like Clayton, he can go deep into the blues; like Scott, he sometimes exhibits a vivid late-Romantic streak, but his style is ultimately his own. Marco Panascia plays bass here, a terse and frequently incisive presence, with the reliably stellar Lewis Nash on drums.

The opening track, Wrap Your Troubles in Dreams gets an inspired, no-nonsense, purist bluesy treatment. Passarim, by Antonio Carlos Jobim begins as a tight, spring-loaded ballad that picks up and takes on increasing shades of irony and grit, with some marvelous interplay between insistent bass and piano shadowing it about four minutes in. Fletcher Henderson’s Soft Winds has Hendelman scouting around aggressively for a comfort zone, eventually launching into a purposeful swing on the second verse, with an equally purposeful, to-the-point conversation between Panascia and Nash following. A radical reworking of Ravel’s Le Tombeau de Couperin takes on an insistent rippling intensity: the band grab it by its tail and swing it around a little – and then they take it to Brazil. Keith Jarrett’s My Song quickly shifts from its lullaby intro to the tightly wound precision of the second track, a vibe they maintain on their expansively Oscar Peterson-inflected cover of You Stepped Out of a Dream, Panascia getting to cut loose a little and bounce some horn voicings around.

Auspiciously, the two strongest performances here are both originals: the brooding, Brubeck-esque Israeli Waltz, and the haunting, elegaic Babushka, both of which pick up with a clenched-teeth resolve. There’s also a brisk and satisfying version of Bird’s Anthropology; On the Street Where You Live, which takes on not a wee hours vibe but a happy hour swing; Makoto Ozone’s BQE, a well-chosen springboard for both Hendelman’s blues and Romantic sensibilities; and a lyrical version of Fred Hersch’s Valentine, which begs the question of which came first, Paul McCartney’s Blackbird or this? It’s just out on Resonance Records.

Adam Schroeder’s Baritone Sax Blows a Cool Breeze

The most recent jazz album we reviewed was aggressive, urban jazz. This one is mellow and breezy – but it’s hardly elevator jazz. Adam Schroeder is the baritone saxophone player in the Clayton-Hamilton Jazz Orchestra. So it’s no surprise to see that he’s got his bandmates, one of the current era’s great jazz rhythm sections, John Clayton on bass and Jeff Hamilton on drums along with the group’s superb guitarist, Graham Dechter, on this session. It’s Schroeder’s first as a bandleader. Clint Eastwood is a fan, which means something because Eastwood is a connoisseur. Schroeder combines a Gerry Mulligan geniality with bluesy Harry Carney purism as well as a remarkable ear for space, something you have to learn in a big band – or else.

The album, titled A Handful of Stars, begins anticlimactically: you won’t miss much by fast-forwarding past their version of I Don’t Want to Be Kissed. But the first of sadly only two originals, Midwest Mash is great fun, a casual blues/funk bounce hitched to Hamilton’s clave beat, good cheer all around, particularly when it comes time for a subtly amusing Clayton solo. Neal Hefti’s Pensive Miss is a clinic in terse, mimimal playing, done as a wee-hours ballad, Dechter adding a slowly bright Barney Kessel-ish solo followed by a quietly pointillistic one from Clayton. A matter-of-factly swinging version of Jessica’s Birthday, by Quincy Jones has Hamilton stepping out playfully this time. The Cole Porter standard I Happen to Be in Love gives Schroeder a rare opportunity to build some actual tension here, then it’s back to Dechter taking one of his characteristically richly chordal excursions.

The other original here, Hidden Within begins with a vividly whispery I-told-you-so conversation between Schroeder and Clayton and grows more expansive yet more spacious: the silences are as meaningful as the notes themselves. Understatedly jovial, the Barry Harris bossa tune Nascimento has Dechter moving from blues to sheer joy, Schroeder moving back toward more pensive terrain followed by a tricky polyrhymic solo from Hamilton. They do the title track, a Glenn Miller hit, as a brisk, snappy pop song, much as Paula Henderson might have arranged it. They end with a purist take of Ellington’s Just a Sittin’ and A-Rockin’ and a bustling version of Cole Porter’s It’s All Right with Me, Hamilton taking it up all the way with a Gene Krupa gallop. It’s out now on Capri Records.

CD Review: Graham Dechter – Right on Time

Jazz guitarist Graham Dechter’s debut as a bandleader is auspicious to say the least. A John Clayton protégé, he made his debut with the Clayton-Hamilton Jazz Orchestra at nineteen. Four years down the road, as befits a guitarist whose main gig is a big band, Dechter eschews gratuitous solo lines in favor of an assured, frequently aggressive chordal attack which nonetheless abounds with subtleties in voicing and shading. He plays straight through his amp without effects, generally with a round, slightly bassy tone that grows to include just a hint of distortion, threatening to combust at any second, when he feels like sending a crescendo over the edge. What’s most impressive about this is that Dechter does it mostly with either familiar or canonical material – it’s a cover album, but the interpretations are unquestionably his. It’s quite a ride.

Backing him are his bandmates: his mentor Clayton on bass, Jeff Hamilton (whose latest as bandleader, Symbiosis, is also excellent) on drums, and the vividly lyrical Tamir Hendelman on piano. The album kicks off a briskly swinging, meaty take on Low Down (by Thad Jones, NOT Boz Scaggs), following with a Jobim cover, Wave, subtly and effectively bluesy with a brisk and confident Dechter crescendo followed amusingly by Clayton’s tiptoeing around, up to a sneaky false ending from Hamilton. The group take their time with The Nearness of You (Hoagy Carmichael), giving it plenty of room to breathe, Hendelman’s solo echoing Dechter’s casual terseness.

I Ain’t Got Nothing But the Blues (one of three Ellington tunes here) is a showcase for Dechter’s sly aplomb with subtle hammer-ons and tremolo picking. The comparison might seem over-the-top, but Dechter’s seemingly intuitive feel for the blues and fresh chordal approach remind of a young Matt Munisteri (albeit without the bluegrass), especially in the suaveness of In a Mellow Tone. Here he eggs his bandmates on, to the point where Hendelman smacks his way in with some impatient staccato as the first guitar solo winds up, then nips at Dechter’s heels for the rest of the song. And when it’s Clayton’s turn to step out, he comes in with a train whistle. Otherwise, Johnny Hodges’ Squatty Roo is a lickety-split romp full of post-Wes Montgomery guitar articulation; his saxist dad Brad Dechter’s bluesy title track works as both clinic in keeping it simple and on track, and an exercise in trick endings; and the old standard Broadway provides ample opportunity for Dechter to muscle up its horn chart. Considering the amount of time the players on this album have clocked together, it’s no surprise to hear such an abundance of convivial, good-natured jousting and interplay. Dechter’s wunderkind years may be behind him now, but with a whole career in front of him, it’ll be very interesting to watch him develop. Let’s hope he starts playing his own compositions – if this cd is any indication, they ought to be captivating. And if not, he’s made a mark as an individual, first-class interpreter worth watching over the months and years to come.