Stuart Kremsky was the San Francisco “Short Takes” correspondent for Cadence magazine from 1979-2007. His reviews have appeared in Option, Sound Choice, Cadence, and the IAJRC Journal. He was a sound man at the fabled Keystone Korner and for over ten years was the tape archivist for Fantasy Records, where his production credits include boxed sets of Sonny Stitt, Dexter Gordon, the Modern Jazz Quartet and the Grammy-nominated Sam Cooke With the Soul Stirrers. Email skremsky1 (at) gmail.com
Friday, May 31, 2019
Jay Anderson: Deepscape
Every once in a while, I suspect a hidden competition among musicians to find the widest possible range of composers for an album project. Bassist and recording engineer Jay Anderson makes a strong bid for the prize on his latest SteepleChase release Deepscape. Who would expect to find two mid-Seventies tunes by Keith Jarrett, Jim Pepper’s anthemic Witchi-tai-to, Branford Marsalis’ The Mighty Sword, Gil Evans’ Time of the Barracudas, and that good old Tennessee Waltz on the same program as compositions by Morton Feldman and Billy Joel? Add a pair of Anderson originals and the popular standard Sweet and Lovely and you’re got one of the most eclectic releases of the year, at least so far. Of course, none of that would matter if the performances weren’t as thoroughly committed and eloquent as they are here. Anderson’s opening solo improvisation, with four layers of bass, sets an exploratory and lyrical tone for the entire program. Jarrett’s seldom performed Shades of Jazz sounds great, with dynamic solos by cornetist Kirk Knuffke and saxophonist Billy Drewes. Take some time to marvel at Anderson’s forceful bass line, egged on by drummer Matt Wilson. Anderson’s long-time relationship with SteepleChase Records owner Nils Winther led directly to this project. Anderson also has extensive playing experience with the musicians he’s gathered for Deepscape, and that kind of deep fellowship is both an inspiration and a challenge not to repeat himself. It’s a challenge that Anderson meets head-on, using strategies that include using Frank Kimbrough only on harmonium instead of his usual piano, overdubbing a Tibetan singing bowl on Feldman's Rothko Chapel, and playing Billy Joel’s And So it Goes as a lyrical bass solo, sounding a bit like Charlie Haden. It’s hard to pick favorites when the menu is so varied, but the Jarrett pieces are particularly fine, the standard Sweet and Lovely more than lives up to its name, and the finale of Tennessee Waltz, played as a bass and harmonium duet, is guaranteed to bring a broad smile to anyone’s face. Spend a fruitful hour with Jay Anderson and friends, then pick your own special moments. Cheerfully recommended.
SteepleChase SSCD 31870; Kirk Knuffke (cnt on 2,4,6-8,10) Billy Drewes (as, ss, bcl on 2-4,6,8-10) Frank Kimbrough (harmonium on 3,9,11) Jay Anderson (b, Tibetan singing bowl on 3) Matt Wilson (d on 2-4, 6-10) Rogerio Boccato (perc on 3,6,7,9); New Paltz, NY, May & June 2018; 1.Deepscape/ 2.Shades of Jazz/ 3.Rothko Chapel/ 4.Southern Smiles/ 5.And So It Goes/ 6.Time of the Barracudas/ 7.Sweet and Lovely/ 8.Momentum/ 9.Witchi-tai-to/ 10.The Mighty Sword/ 11.Tennessee Waltz; 60:59. www.steeplechase.dk
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