COVER -> POWERSSOUND
Somehow my radar telescope has overlooked the career of Jesse Davis. This masterful performer on the alto saxophone deserves lots more attention than he's received over a career that stretches back for six previous albums, all on the Concord label.
Bob Powers Davis launched his career at a leader in 1991 and has been cookin' ever since. In his latest, "Second Nature," shows a distinguished artist at home with his horn and at ease with the demands of today's modern jazz. This set was recorded last June in Verona, Italy. Working in support of Davis were Massimo Farao, piano; Massimo "Max" Dallomo, drums, and Aldo Zunino, bass.
To achieve greatness in today's crowded market, a performer must set himself apart from the crowd, either through a distinctive sound on his chosen instrument or a questing mind always in search of a different way of doing things.
"Second Nature" qualifies on both counts. Davis has admitted to a special admiration for the talents of Charlie Parker, and he often reaches an eerie sound that will push older listeners back into their memories for those days when Bird still roamed the earth. Davis, while seeming to play without pushing or straining himself, turns in a collection of tunes which will satisfy almost anyone who possesses a knowledge of today's modern jazz and its illustrious history.
The album opens with a knock-you-down piece of beauty, a superb rendition of the great old standard, "On the Sunny Side of the Street." You'll never think of the Tommy Dorsey Band again once you hear Davis conquer this lovely old warhorse.
As if daring doubters, Davis immediately launched into a pristine, beguiling version of "I've Grown Accustomed to Your Face," which seems to be a favorite of jazz players from sea to shining sea. Next, Davis sits out while his backing musicians turn in a clever and catchy take on Farao's jazz waltz, "Tommaso."
The remainder of the album consists of originals, divided between full-out blowers and charmingly warm ballads. Davis sounds at ease with this assignment, never getting too rambunctious, and particularly winning favor with his ballad work.
It's early to be talking about a candidate for the years best album, but I have a notion that I'll have this one high on my list come December.
The World's Magazine: generator21.net
Event # 214: THE OTHER EVIL EMPIRE
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Guitar Thrills
Occasionally, two performers decide to combine their talents and the result is damned near magical. Thats certainly the case with the terrific duo of Jimmy Bruno and Joe Beck.These gentlemen of the guitar met last summer at a guitar workshop in Pittsburgh, although Bruno recalls a meeting that was somewhat cross many years before.
When Bruno played in Pittsburgh, Beck listened. "My God, I didn't know it was possible to play the guitar like that," he remembers thinking. "We had to play a couple of tunes together, and we hit it off instantly," he recalls.
In December they went into a recording studio to produce an album consisting of 11 standards and an original by each player. The album, "Polarity" (Concord Records) consists only of the two musicians. Beck plays the alto guitar and produces a sound that, according to Bruno, is "a great pad to solo over, unlike anything I've ever played against before."
These are two performers with long and distinguished track records, playing with many well-known groups. But this is their first recording session together. Wow!
The choice of material seems impeccable, ranging from the Gershwin brothers delight, "How Long Has This Been Going On," moving ahead to the Beatles beautiful "Eleanor Rigby," and stopping by the Spanish delight, "Estate."
"I've Grown Accustomed to Your Face," which always sounds good gets a special accounting in the hands of Bruno and Beck. There are wondrous events with such hoary but delicious standards as "Tenderly," "I Don't Stand a Ghost of a Chance With You" and the seldom heard Ray Noble tune, "Cherokee."
"Polarity" is one of those rare instances when two musicians turn out to be exactly right for each other. It makes for a truly scrumptious album that will be a steady delight on your CD player for months to come.
COMING NEXT: Our next column will take a listen to alto and soprano sax player Terry Gross's new album, "Riddle of the Spinx," which attempts to have listeners visualize the sounds of Egypt in a modern jazz context. I hope to see you then. If you like what you've read, please spread the word about "Powerssound."
