Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Orrin Evans Makes a Party Record for Smart People

Pianist Orrin Evans has been on some kind of a roll lately, as a solo artist, in his mighty Captain Black Big Band,and also the impossibly eclectic, brilliant trio Tarbaby with Eric Revis and Nasheet Waits. His latest album, Freedom, which has been out about a month on Posi-Tone, was recorded about a year ago (right before the Tarbaby record came out), capturing Evans in slightly more relaxed mode. Emphasis on “slightly” – there’s still plenty of his trademark restless intensity here. But it’s also a party record, mostly a trio session with Dwayne Burno on bass and Byron Landham (from Evans’ original 90s trio) on drums, with Anwar Marshall from the big band taking over behind the kit on three tracks, plus tenor saxophonist Larry McKenna guesting on a couple more. Thematically, it’s a tribute to Evans’ friends and mentors – which makes a lot of sense when you hear it.

Charles Fambrough’s One for Honor kicks it off, brisky, catchy, almost scurrying. Essentially, it’s a cleverly ornamented two-chord modal theme, Evans working a lively call-and-response between contrasting two-bar pairs. A simple, memorable blues, Gray’s Ferry, by Burno provides a canvas for soulful McKenna inflections and a typically cerebral Evans solo, with the drums bringing the party atmosphere up. The uninhibited joy of Evans firing off ripples following a particularly inspiring sax motif, and the spirited crash of Landham’s cymbals, is just plain irresistible. The third track, Shades of Green, begins with a gorgeous series of turnaround that defiantly refuse to resolve, Landham’s rumble beneath Evans’ judicious, ringing chords evoking a genuine majesty. That’s a signature style for Evans, one he evokes even more potently on the album’s seventh cut, Oasis, which shifts from samba-inflected soul to rippling restlessness to an electrifying modal intensity, which sadly fades out too soon – it would be awfully nice to see what destination this crew might have been able to find for it.

Evans’ sole original here, Dita, is an expansive, slow ballad with understated grandeur and an apt Burno solo. Hodge Podge features a cool piano/drum interchange over a devious 12/8 beat, and then a heated Marshall solo spot where he still manages to keep the rhythm absolutely front and center. They also romp through Time After Time, with a clever bass-and-drum conversation, give Duane Eubanks’ As Is a bright swing treatment and close with Herbie Hancock’s Just Enough, Evans and the rest of the band letting its quiet gravitas speak for itself. If melodic jazz is your thing and you don’t know this guy, you’re missing out.

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August 15, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , , | 1 Comment