2009.08.14
CD reviews that won't fit in Saturday's paper
STEVE KUHN TRIO WITH JOE LOVANO
"Mostly Coltrane" (ECM)
Pianist Steve Kuhn explores the lyrical side of tenor saxophonist John Coltrane.
Kuhn holds a direct link to the tenor titan, having served as the pianist in Coltrane’s first quartet just before McCoy Tyner.
Kuhn here takes an approach far different from Tyner’s. Kuhn’s quartet — with tenor saxophonist Joe Lovano, bassist David Finck, and drummer Joey Baron — comes to the Coltrane songbook with soft gloves and candlelight. Much of the set is sweet without fawning, mystical without being New Age.
Even "The Night Has a Thousand Eyes," studded with audio fireworks, exudes a simpatico nature, while Coltrane’s classic "Crescent" is deep and gorgeous and Kuhn’s "Trance," a solo piano piece, proves to be full of elegant reverie.
Just when the set could begin to sound safe, it veers into later Coltrane, with slashing modernist tendencies on "Configuration." But here, too, "Jimmy’s Mode" provides some peace, and on "Spiritual," Lovano plays the Hungarian, oboe-like tarogato, on which he eerily conjures up Coltrane’s sound on soprano saxophone.
All in all, a nourishing set.
— Karl Stark, The Philadelphia Inquirer
MATT WILSON QUARTET
"That’s Gonna Leave a Mark" (Palmetto Records)
Drummer Matt Wilson’s quartet makes for one steamy congregation. The drummer, whose collaborators include Dewey Redman, Philly trumpeter Terell Stafford, and the Either/Orchestra, presents his eighth recording here — all are on the Palmetto label — and it’s acidic, energetic, and never boring.
Tenor and soprano saxophonist Jeff Lederer takes turns blowing some muscular stuff with alto saxophonist Andrew D’Angelo.
The tunes are shapely and well chosen. John Lewis’ "Two Bass Hit" creates a bebop interlude featuring bassist Chris Lightcap, while "Area Man" projects a slinky, secret-agent feel.
The title track is shrill and playful — the shrieking qualifies as part of the fun — while "Getting Friendly," which Wilson bills as a quirky love song, makes for a romantic ditty.
War’s "Why Can’t We Be Friends?" is a stitch, featuring the backup singing of guest vocalists known as "The Swayettes," a perfect cap to this often madcap recording.
— K.S.
