Smart, Energetic Purist Guitar Jazz from Graham Dechter

If it’s possible for an album of other peoples’ material to be brash, that somewhat describes guitarist Graham Dechter’s 2009 debut as a bandleader, Right on Time. His second, Takin’ It There is more dynamically charged and a degree subtler. A jazz purist in the Wes Montgomery/Barney Kessel tradition (both of whom he covers here), Dechter has irrepressible, tireless energy, wicked precision and a clean, unvarnished tone. The personnel here are the same as on his debut: bassist John Clayton and drummer Jeff Hamilton (who mentored him in their Jazz Orchestra) and pianist Tamir Hendelman.

A spring-loaded version of Montgomery’s Road Song kicks things off, Dechter’s  sizzling descending runs handing off to a jaunty ragtime-flavored Hendelman solo and then a wry bass solo that’s classic Clayton. Likewise, Clayton’s minimalism contrasts mightily with the guitarist’s expansive approach on an expert take of Kessel’s Be Deedle De Do. The standout track here is Jobim’s Chega de Suadade (No More Blues), slowly shifting from vividly scampering unease through up-and-down-tempos to a galloping, bubbly romp.

Likewise, an original Dechter ballad, Together & Apart follows a meticulous arc up from understated angst, brightening with a more bluesy feel. The album’s title track, by pianist  Josh Nelson, works a brightly swinging early 60s Grant Green vibe, nonchalantly building to a tasty outro fueled by Hamilton’s clustering attack and Hendelman’s big block chords.Clayton contributes Grease for Graham, a matter-of-fact midtempo/slow swing number that essentially segues into a breakneck take on Lee Morgan’s Hocus Pocus, whose high point is a rare drum solo that actually manages to bring the energy down a bit. There’s also a version of Come Rain or Come Shine that follows an almost imperceptible trajectory from gentle to gritty, a pulsing, goodnatured take on George Coleman’s Father, and a concluding diptych of a solo Dechter ballad into a similarly tender take of  Every Time We Say Goodbye. It’s out now from Capri Records.

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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.