If anyone
doubts the timelessness of classic jazz, one listen to saxophonist Don Aliquo
and pianist Beegie Adair’s Too Marvelous for Words will convince them
otherwise. “We were visualizing vintage, mid-Fifties, Be-Bop feel” states
Beegie – and they fully captured it. Sometimes that intent can create a
somewhat nostalgic feel, losing the immediacy that is at the core of all great
jazz. In the hands of these two masters, quite the opposite occurred. The listener
is instead transported into the mindset of that spectacular era, complete with
all of the excitement, urgency, and joy of adventurous discovery that were its
hallmarks.
A key reason
for this is the remarkable empathy among all the musicians, creating the
synergy that is so essential for jazz at its highest levels. The outstanding
bass and drums tandem of Roger Spencer and Chris Brown respectively are the
regular members of Beegie’s trio, contributing greatly to the sense of seamless
cohesiveness and unity of purpose that fuels this entire album. While Don has
performed often with the two of them over the years, he had performed far less
frequently with Beegie before this date. But their profound connection is
simply stunning, sounding as if they’ve been playing together regularly for
years. Their interplay is so symbiotic that it often seems like they are
dancing.
Playing
mostly tenor, along with two pieces on alto, Don’s sound on both instruments is
full-bodied and robust. His sensational phrasing is so articulate and emphatic
that the stories he tells are vividly hewn, fascinating tales. His sound is
steeped in the vernacular of the powerhouse saxophonists, but utterly singular
and with a completely modern flair. Beegie, internationally loved and renowned,
is a marvelous pianist, with an understated but dynamic style and a consummate
sense of unfettered and always inventive swing, whether soloing or in ensemble
support. Spencer’s deeply resonant sound and inspired playing gives the music a
full, but always buoyant bottom. Combined with Brown’s sensitive, subtly
vigorous but never overpowering sense of drive and swing, their impeccable time
and taste locks every piece into a perfect groove.
The
repertoire is sublime, combining wonderful items from the Great American
Songbook with classic works from four of the jazz legacy’s greatest composers.
That all but one of these compositions were originally written between 1937 and
1952 (the exception being Isfahan, one of the final Strayhorn/Ellington
collaborations in 1966) is further testimony to the aforementioned timelessness
of this music. Without losing sight of the era they were trying to capture, the
exceptional arrangements make every piece modern, vital, refreshing,
exhilarating and completely of the moment. The ten pieces include seven lively
swingers, ranging from gentle to surging, and three lovely ballads.
There are
three items from the unparalleled Billy Strayhorn – another collaboration with
Duke; and his own Johnny Come Lately, which opens the album in a loping groove
with a staggered approach that creates a somewhat Monk-ish feel. Isfahan is an
almost-ballad in soft swing that grows bouncier as it moves along; and the
exquisite Day Dream is built on Beegie’s lushly rich piano with Aliquo playing tenor,
evoking the heart-wrenching beauty that Johnny Hodges always brought to this
piece on alto.
Don brings
his own passionate alto styling to Tadd Dameron’s beautiful If You Could See Me
Now, an emotive and heartfelt rendition with a deep tinge of blue. Don also
plays alto – with Beegie in a splendid Red Garland-ish swing mode – on the
playful and joyously up-tempo This Can’t Be Love, one of two Rodgers & Hart
songs included here. The other, a poignant and deeply moving version of It
Never Entered My Mind showcases Don’s sumptuous tenor sax balladry.
Captivating
rhythmic approaches are at play on the richly syncopated Fragos, Baker and
Gasparre hit song I Hear a Rhapsody, and the Latin-flavored, ostinato driven
All or Nothing at All (Arthur Altman) that features a tour-de-force tenor solo
– powerfully visceral and daring, but never losing its rich lyricism. Beegie
lays down a deeply grooved and funky bounce on Thelonious Monk’s Bye-Ya, and
provides terrific interplay with Don’s fluid and punchy tenor work.
While
Nashville is far more famous for another form of music, with jazz artists like
these four on its scene, country music may have to move over a bit and make
some room.
“What a
delightful album! So refreshing to hear these master musicians perform this
marvelous selection of great tunes and weave a purely magical spell as only
they can. It is very reassuring to know that jazz is alive and well in this part
of the country. These musicians are based in Nashville, Tennessee, a place
known primarily as the country music capital of the world, yet the
sophisticated and soulful sounds emerging from this group suggest that country
music, as great as it is, is not the only type of music thriving in that
environment.
Don Aliquo,
a first rate saxophonist whose big sound and magnificent phrasing permeates
this entire recording, is wonderful to hear throughout. And Beegie Adair is a
world-class pianist with an exquisite touch who displays an unbridled sense of
swing on each and every track to the delight of everyone who hears her. This
coupled with the marvelous support of master bassist Roger Spencer and the “in
the pocket” drumming of Chris Brown add up to a superb outing that will warrant
repeated listening. The “real thing” for sure and my advice is not to miss this
boat whether you are a seasoned jazz fan or just a person who likes to hear
great music. Highly recommended.” -Mike Longo
Track
Listing
1. Johnny Come Lately
2. This Can't Be Love
3. Day Dream
4. Bye -Ya
5. Isfahan
6. All or Nothing At All
7. I Hear A Rhapsody
8. If You Could See Me Now
9. Too Marvelous For Words
10. It Never Entered My Mind
10. It Never Entered My Mind
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