Orrin Evans - The Red Door

Styles: Piano Jazz
Year: 2023
File: MP3@320K/s
Time: 62:21
Size: 144,2 MB
Art: Front

(4:04) 1. Red Door
(7:11) 2. Weezy
(7:35) 3. Phoebe's Stroll
(9:15) 4. The Good Life
(4:36) 5. Big Small
(3:58) 6. Dexter's Tune
(4:12) 7. Amazing Grace
(5:15) 8. Feed the Fire
(4:25) 9. All the Things You Are
(2:43) 10. Smoke Rings
(5:22) 11. They Won't Go When I Go
(3:39) 12. I Have the Feeling I've Been Here Before

A most generous craftsman, composer and bandleader, pianist Orrin Evans never fails to bring out the best of whoever he chooses to create with. The Red Door is gratefully, and gracefully, no exception to that rule.

Whatever musical setting Evans chooses to practice his sinewy, r'n'b inflected post-bop insideman, big band, trio, quartet, duo, whatever a sweet animation propels his music and buoys the players gathered around him. In this case the two core units feature bass legend Buster Williams, drummer Gene Jackson, the late Wallace Roney on trumpet and fellow Philadelphian, tenor legend Larry McKenna. The other quintet features trumpeter Nicholas Payton, saxophonist/flutist Gary Thomas, bassist Robert Hurst and drummer Marvin "Smitty" Smith.

Just as it was a standout track on his second recording with the The Bad Plus, 2019's canny and expressive Activate Infinity (Edition Records), the lead-off title track carousels into consciousness with a brassy, staccato effervescence and witticism courtesy of Payton and Thomas, that Hurst, Evans and Smith quickly wrest control from, deconstruct, then return sprightly to the dance. As Immanuel Wilkins' saxophone did throughout Evan's previous highlight reel, 2021's The Magic of Now (Smoke Sessions Records) Thomas' flute becomes the voice of the circuitous and bluesy "Weezy."

But it may well be "Phoebe's Stroll" that we remember The Red Door for in the years ahead. A jaunty, trio workout of everything that makes Evans tick his quotable, neo-pop melodicism, his patient way with time, his keen, articulate framing and sense of communal dance all in one seven plus minute slice of perfection. It's a grand gesture and sure to be a setlist perennial.

Geri Allen's antic "Feed the Fire" gets the full-on quintet treatment as Thomas and Payton play cat and mouse around Smith and Hurst's elusive current and Evans' pronounced freneticism. Ditto "Smoke Rings." With Buster Williams providing the smooth, second set of the night groove, McKenna, uncurls an entrancing, deep blue solo that defines "The Good Life." Ever a shaman of the collective, Evans brings onboard Jazzmeia Horn who, as has become custom, delivers a slyly impassioned reading of Bill McHenry's feminine forward lyric for Evans' "Big Small," which originally appeared sans lyrics on Flip the Script (Posi-Tone Records, 2012)

A substantive tribute to those whom Evans claims has gotten him to the pinnacle he inhabits right now and to those who will help him carry it forward, (including Sy Smith and Alita Moses, The Red Door is a masterful high point in a career that continues to climb. By Mike Jurkovic
https://www.allaboutjazz.com/the-red-door-orrin-evans-smoke-sessions-records__14893

Personnel: Orrin Evans: piano; Robert Hurst: bass; Marvin "Smitty" Smith: drums; Gary Thomas: saxophone; Nicholas Payton: trumpet.

Additional Instrumentation: Nicholas Payton: trumpet (1, 2, 5, 10); Gary Thomas: tenor sax (1, 5, 10) flute (2); Robert Hurst: bass (1-3, 5-8, 10, 12); Marvin “Smitty” Smith: drums (1-3, 5-8, 10, 12); Wallace Roney: trumpet (9); Larry McKenna: tenor sax (4); Buster Williams: bass (4, 9); Jazzmela Horn: vocal (5); Sy Smith: vocal (7); Alita Moses: vocal (11).

The Red Door

---

Joe Farnsworth - In What Direction Are You Headed?

Styles: Jazz, Post Bop
Year: 2023
File: MP3@320K/s
Time: 61:53
Size: 142,5 MB
Art: Front

( 7:13) 1. Terra Nova
( 9:29) 2. Filters
(10:33) 3. In What Direction Are You Headed
( 5:00) 4. Composition 4
( 7:24) 5. Anyone but You
( 6:44) 6. Safe Corners
( 5:31) 7. Bobby No Bags
( 9:55) 8. Someday We'll All Be Free

I have been listening to music accompanied by the esteemed drummer Joe Farnsworth for over 30 years, especially via a favorite ensemble, One For All. I know he is good, but how good wasn’t clear to me until now.

Farnsworth, who will be leading a band at the Jazz Showcase from May 11th through the 14th, has always been “a drummer’s drummer,” capable of providing stalwart support of most any ensemble.

Generally known for his “old school” pocket behind post-bop performers, Farnsworth’s new album In What Direction Are You Headed? Is a wily departure from his usual fare, involving a new generation of players while keeping a veteran rhythm core at the center, creating a plaiting of generations.

On In What Direction are some of the finest contemporary talents: featured guitarist Kurt Rosenwinkel, altoist Immanuel Wilkins (whose appearance at last year’s Jazz Festival was woefully undersold), and keyboardist Julius Rodriguez. At the bass helm is Robert Hurst, who has moved forward from his crucial Marsalis experience to become a respected support player.

The album’s title, and title cut, comes from an attempt to bridge those generations, a way for Farnsworth to indicate to his homies that he is not straying far away from his roots but wants to move forward to involve the top tier of current musicians steeped in multi-genre upbringings. Farnsworth first played the tune with the late, sorely-missed, pianist Harold Mabern at the Vanguard. Joe then asked Mabern’s son Michael (who provides an enjoyable conversation with Farnsworth as the liner notes) if he could use the tune on the new album as a way to establish a musical trope.

Rosenwinkel’s presence invigorates Farnsworth and provides a clear subtext to the proceedings: this is not your dad’s music, but we do remember your dad. The world-recognized guitarist gets three compositions here, and his guitar is definitely not representing another version of Grant Green.

And on Mabern’s “In What Direction Are You Headed?”, the bridge is built. Rodriguez opens with a funky Fender Rhodes riff that leads to a brightly-rendered melody from both Rosenwinkel and Wilkins, an arrangement that occurs frequently. As the two meander through the bars, the playing becomes more elastic, fushionesque. Rodriguez gets the first solo while Farnsworth sounds like Buddy Rich during his “trying to be cool in the 60’s” period (not meant to be pejorative). Wilkins lets loose with a postmodern squall before Rosenwinkel steps on the effect box to render a lovely, angular statement.

Farnsworth also has a solo opportunity (one of three in the selections) that builds on his first one, an eye-opening display during selection two, Rosenwinkel’s “Filters.”

Wilkins’ contribution “Composition 4” (placed, of course, fourth on the listing) is the quietest of the songs, showcasing the album’s juxtaposition of sax and guitar. Wilkins has the melodic lead, as Rosenwinkel adds shimmering comp atop Rodriguez’s folky acoustic fills.

Rodriguez’s “Anyone But You” is the bop tune that demonstrates the youths’ ability to travel quickly, with Rosenwinkel especially impressive with his McLaughlin-like display; Wilkins, likewise. Does Farnsworth keep up? Impressively, yes. And Rodriguez is impressive, too. Any questions about how the “new generation” can deal with the “old” are answered here.

The album opener “Terra Nova” and “Safe Corners,” both Rosenwinkel compositions, are reflective tone poems that suggest geographical influences. Both have slightly Latin touches and comparatively are more austere in arrangement while gorgeous as soundscapes.

On “Bobby Low Bags” Farnsworth gives Hurst a chance to shine, and the bassist relishes the moment in bluesland. Meanwhile, Wilkins displays his bop chops, something I wasn’t sure he could pull off. Rosenwinkel, with guitar effect applied, follows through with his rejoinder, while Rodriguez shares his own piano offering before Farnsworth finishes with a short solo. Here, again, sax and guitar coalesce as Hurst completes the tune.

The closer, Donnie Hathaway’s “Someday We’ll All Be Free,” is clearly symbolic, one more bridge to join sides. The soulful ballad gets an ornate, upper registered greeting from Wilkins while Rodriguez morphs Philly soul as Rosenwinkel carries forth with an effected solo that replaces Hathaway beautifully. You’d think Wilkins picked up a soprano for this one, but it’s just another way for him to demonstrate his facility, while Hurst carries the song with his own lyrical backup.

We’ve been treated with some great music in 2023 so far, but this album blew me away unexpected but welcomed, nonetheless. Joe Farnsworth, in excellent form, not only evinces his wide talent but also his wisdom, casting a vision for our jazz future that doesn’t eschew the genre’s blues roots while still advancing. In What Direction Are You Headed? Is both a good question and an essential album for the 21st Century. By Jeff Cebulski
https://www.chicagojazz.com/post/jazz-review-joe-farnsworth-in-what-direction

Personnel: Joe Farnsworth, drums; Immanuel Wilkins, alto sax; Kurt Rosenwinkel, guitar; Julius Rodriguez, piano and fender Rhodes; Robert Hurst, bass

In What Direction Are You Headed?

---

Robert Hurst - Presents: Robert Hurst

Styles: Jazz, Post Bop
Year: 1992
File: MP3@256K/s
Time: 67:09
Size: 123,2 MB
Art: Front

(6:20) 1. Down 4 the Cause
(6:28) 2. Detroit Red
(6:36) 3. Aycrigg
(4:41) 4. Joyce Faye
(1:23) 5. Incessant Lullaby
(7:53) 6. The Snake Charmer
(2:55) 7. Evidence
(5:54) 8. Walk of the Negress
(7:59) 9. Blue Freeze
(6:45) 10. Bert's Flirt
(7:24) 11. Devil's Night in Motown
(2:46) 12. Incessant Lullaby.... Bye

This set finds bassist Robert Hurst leading the Tonight Show All-Stars (with Branford Marsalis on various reeds and pianist Kenny Kirkland), plus trumpeter Marcus Belgrave and guest Ralph Miles Jones III (on bass clarinet and bassoon) through 11 of his originals and a solo bass version of Thelonious Monk's "Evidence." The music is complex and hard-driving, but the improvisations are rather cold and sometimes boring. Hurst, a superior bassist, is not a superior composer, and his compositions at best set moods. Of the supporting cast, the most distinctive voices are Belgrave and Jones; the latter has a colorful bass clarinet solo on "The Snake Charmer." This is a decent effort, but not all that essential.~Scott Yanowhttps://www.allmusic.com/album/robert-hurst-presents-robert-hurst-mw0000098147

Personnel: Bass – Robert Hurst; Bass Clarinet, Bassoon – Ralph Miles Jones III; Drums – Jeff "Tain" Watts; Piano – Kenny Kirkland; Sopranino Saxophone, Alto Saxophone, Tenor Saxophone, Clarinet – Branford Marsalis; Trumpet, Flugelhorn – Marcus Belgrave

Robert Hurst Presents: Robert Hurst

---