George Cables: I Hear Echoes

     I get a lot of CDs and downloads sent to me for this blog, and I can’t usually be sure I’ll enjoy the music until I start listening. But when it’s a new recording by pianist George Cables, I know beyond the shadow of a doubt that it’s going to be a winner. And so it is with I Hear Echoes, his latest HighNote album, a trio date with Essiet Essiet on bass and Jerome Jennings on drums. Cables turned 80 in November 2024 and he’s had various health problems over the last few years, but he sounds really strong on the opening track, Echo of a Scream. The first of four original tunes, it’s a dazzling upbeat swinger with an insistent figure that Cables keeps up for the whole tune. Another Cables composition, Echoes, sounds like a close cousin to the opener, with a more relaxed feel but similarly constructed. The trio also takes a fresh look at some older tunes: Morning Song, a tune that dates back to the late Seventies, and Blue Nights, first recorded in 1985. Joining the originals are a few standards, including a tasty upbeat version of Cole Porter’s You’d Be So Nice to Come Home To, and jazz compositions including Duke Ellington’s timeless Prelude to a Kiss, Cedar Walton’s Clockwise, and a stirring romp through pianist Arcoiris Sandoval’s Journey to Agartha. The CD concludes with a reflective solo rendition of Horace Silver’s Peace. There’s a reason Cables has been a key member of bands led by such disparate personalities and stylists as Art Blakey and saxophonists Dexter Gordon and Art Pepper. He’s also appeared on record with such critically acclaimed artists as Freddie Hubbard, Sonny Rollins, Bobby Hutcherson, and many others. That reason is his unerring instinct for the right note at the right time and his reliable sense of swing. Until his run of trio albums for HighNote dating back to 2012's My Muse, I was more of a devotee of his ensemble work. But now, I’m eager to make room on the shelf for another of his joyously swinging trio dates. Absolutely recommended. 

HighNote HCD 7256; George Cables (p) Essiet Essiet (b) Jerome Jennings (d); NYC, January 30 & May 2, 2024; Echo of a Scream/ Echoes/ So Near So Far/ Morning Song/ Prelude to a Kiss/ Clockwise/ Like a Lover/ You’d Be So Nice to Come Home To/ Blue Nights/ Journey to Agartha/ Peace; 65:41. www.jazzdepot.com

George Cables: Too Close For Comfort

  Veteran pianist George Cables continues his stellar run of trio albums for HighNote with the sublimely beautiful Too Close For Comfort. Working with his regular bandmates, Essiet Essiet on bass and Victor Lewis on drums, Cables, who also produced the date, starts out with the rapid fire attack of the title track. It’s a song that the pianist says he “fell in love with as a young man” and it seemed like a good time to record it, with a tongue-in-cheek reference to the Covid-19 pandemic. Three Cables originals are up next. Circle Of Love is a gentle blues dedicated to his tightly knit circle of friends, supporting him through recent health problems. The perky This is My Song is a lovely expression of what Cables’ calls his “positive spirit,” while Klimo looks back to the pianist’s days in Los Angeles with a burst of Latin rhythm and a pace tailor-made for Victor Lewis. The drummer takes a rest for For All We Know, a standard that Cables remembers hearing sung by Billie Holiday. Here it’s the occasion for an intimate and prolonged duet of crisp piano and the solid and unflashy bass of Essiet. (Odd fact: the bassist once recorded this song with a vocal by Art Blakey when he was in the Blakey band in 1990!). Next is the bouncy and energetic performance of Crazy Love, a piece by pianist and friend Tadataka Unno. (Real world aside: Unno was attacked and badly injured in New York in October, 2020. If you want to help him, go to gofund.me/4ec4aca3.) His attractive tune is played as a soulful duet with Lewis, playing drums with his hands instead of sticks. The late Bobby Hutcherson recorded a number of Cables’ compositions. In a mark of respect, the trio offers their vigorous take on Hutcherson’s mid-Seventies composition Roses Poses and a cheerful version of Hutcherson’s Teddy. A delightfully upbeat rendition of Frank Loesser’s I’ve Never Been in Love Before comes between the Hutcherson songs, and the set comes to an end with a brief and charming solo piano piece that Cables calls A Valentine For You. You really can’t go wrong with a musician who was a favorite sideman for the likes of Dexter Gordon from 1977 to 1979 and Art Pepper from 1976 to 1982, so if it’s deeply felt and solidly swinging piano music that you’re craving, Too Close For Comfort is for you. 

HighNote HCD 7335; George Cables (p) Essiet Essiet (b) Victor Lewis (d); NYC, September 9, 2020; Too Close For Comfort/ Circle of Love/ This is My Song/ Klimo/ For All We Know/ Crazy Love/ Roses Poses/ I’ve Never Been in Love Before/ Teddy/ A Valentine For You; 56:19. www.jazzdepot.com

George Cables: I’m All Smiles

George Cables, a master of modern jazz piano, has had more than his share of health problems over the last few years and was unable to play for a while. But he’s back on the scene, and his latest trio venture, I’m All Smiles, functions as the best “thank you” to his many well-wishers that they could have hoped for. Many of the selections impart definite messages, like the opening Young at Heart, the popular Love is a Many- Splendored Thing from 1955, and the title track, first heard on Broadway in The Yearling (1965). The nicely balanced program also includes Wayne Shorter’s Speak No Evil, Consuelo Velázquez’s immortal Bésame Mucho, Freddie Hubbard’s durable Thermo, Jaco Pastorius’ Three Views of a Secret, one Cables original (the brightly optimistic Celebration) and a pair of tunes by Thelonious Monk. A curiously upbeat and choppy version of Ugly Beauty is performed by the trio, while a spirited solo piano rendition of Monk’s Mood ends the disc with a flourish. Suffice it to say that Cables sounds strong and is swinging as hard as ever. Essiet Essiet on bass and the veteran Victor Lewis provide impeccable support throughout. This disc was recorded in a single day in the studio, and I can’t help but get the feeling that Cables was champing at the bit to get back to music-making. Welcome back, George Cables! I’m All Smiles is a real winner, and happily recommended.
HighNote HCD 7322; George Cables (p) Essiet Essiet (b, exc. on *) Victor Lewis (d, exc. on *); NYC, October 26, 2018; Young at Heart/ I’m All Smiles/ Speak No Evil/ Besame Mucho/ Ugly Beauty/ Love is a Many-Splendored Thing/ Celebration/ Three Views of a Secret/ Thermo/ Monk’s Mood*; 58:24. www.jazzdepot.com

Frank Morgan/George Cables: Montreal Memories

Just about anyone interested in modern jazz is a George Cables enthusiast. Dexter Gordon was a big fan of the pianist, and so was Art Pepper, good company to keep. Alto saxophonist Frank Morgan was also a devotee of Mr. Cables, and he had a following when he reappeared on the scene after a lengthy incarceration. Which makes the appearance of Montreal Memories, with the Frank Morgan/George Cables duo captured live on stage, a cause for real celebration. Appearing at the Théatre Port-Royal as part of the 1989 Montréal Jazz Festival, the pair’s enthusiasm, superb musicianship and intimate rapport are apparent from the first bars of Now’s the Time. That’s the first of three Charlie Parker compositions in the set, along with Confirmation and Billie’s Bounce. And of course Parker, the key influence on Morgan’s music, frequently performed Dizzy Gillespie’s A Night in Tunisia and Monk’s ‘Round Midnight, two other duo selections. There are also two Cables originals, Lullaby and his best-known piece, the enduring Helen’s Song, first recorded on an album by California guitarist Bruce Forman in 1984. Blues For Rosalinda, an original blues by Morgan, dedicated to his long-time companion, artist Rosalinda Kolb, the Kern-Hammerstein evergreen All the Things You Are and Wayne Shorter’s Nefertiti, in a medley with Billie's Bounce, complete the program. Morgan, who called the tunes for the pair, was acutely interested in melodies, and he picked some of the best for this gig. As Cables tells Patricia Willard for her liner notes, he was “the guy dealing with energy” while Morgan was “dealing with lyricism.” The two men had an exceptionally beautiful musical relationship, and it’s all here. Highly recommended.
HighNote HCD 7320; Frank Morgan (as) George Cables (p); Montréal, Canada, July 1, 1989; Now’s the Time/ All the Things You Are/ A Night in Tunisia/ ‘Round Midnight/ Confirmation/ Blues For Rosalinda/ Helen’s Song/ Lullaby/ Medley: Nefertiti; Billie’s Bounce; 61:07. www.jazzdepot.com