Rating:
Genre:
Jazz
Release Date: 11/11/2008
Many jazz pianists are truly brilliant, and of that there is no doubt. Where
Art Tatum,
Oscar Peterson,
McCoy Tyner,
Keith Jarrett, and
Chick Corea are usually mentioned first, dozens of other extraordinary players are not mentioned simply because of their name recognition.
Roger Kellaway is such a figure, clearly a talented, highly skilled, and universally accessible player whose heightened melodic sense and chops galore easily put him in the class of a musician's musician. A double-CD set live in New York City at the
Jazz Standard, this effort should leave no doubt as to
Kellaway's worthiness belonging in the upper echelon of mainstream jazz masters. But it would be inaccurate to peg
Kellaway a conservative player simply because he is interpreting well-known standards. True, there are echoes of
Nat King Cole's pre-vocal bands, and the bright inventions of the
Modern Jazz Quartet. Guitarist
Russell Malone and bassist
Jay Leonhart boost
Kellaway's cache, while vibraphonist
Stefon Harris is included on several selections. No drummer is included on purpose, heightening the intimacy quotient. This lends to an elastic rhythmic feel, provided primarily by
Malone, and it is the guitarist who sparks this ensemble. Give credit to
Kellaway for taking liberties on tunes that might never be radio friendly, but are eminently listenable. The spare melody starting an over ten-minute
"C Jam Blues," long piano discourse on the 15-minute
"Cherry," and easy take of
"Freddie Freeloader" stretch most imaginations. Check out the popping percussive guitar playing of
Malone on
"Cherry," sounding like
H. Ray Crawford, as well as the reliable
Leonhart's tactful bowed bass solos. Playful counterpoint fuels the jumping
"I'm Beginning to See the Light," and a loping
"Tumbling Tumbleweeds" moves from delicate tiptoe to traipsing, stepped-up in tempo halfway through. The bopper
"Cottontail" sounds most like
MJQ or especially
Cole in a neat, clean fashion, while the
Sonny Rollins evergreen
"Doxy" is modified, sounding more like
Cannonball Adderley's
"Things Are Getting Better." In a reflection of a previous
Kellaway combo, cellist
Borislav Strulev joins the group for the pianist's original
"All My Life," an atmospheric chamber waltz, and the most unique track of the date. Coming in a close second is a reinvented, sly, bluesy and lowdown
"Take Five." Harris consistently shines when deigned lead melody maker as on
"C Jam Blues," the pretty
"Someday My Prince Will Come," a pristinely romantic
"The Nearness of You," and the very slow ballad
"You Don't Know What Love Is." The finale
"52nd Street Theme" is a barn burner, a furious bop vehicle where
Kellaway utilizes call and response devices with
Harris and
Malone, recalling a hypothetical best effort if
Terry Gibbs met
Oscar Peterson and
Herb Ellis. An exceptional recording of depth and substance, listeners will be well served to hear this recording not only in its entirety, but repeatedly, to fully enjoy the professional company of these great modern musicians playing their ever lovin' hearts out.
~Michael G. Nastos, All Music Guide
;)
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