Scott
Reeves
Clip: "Congressional Roll Call" (Requires RealAudio)
For "Congressional Roll Call" Scott has assembled a group of some of the most
prominent jazz artists in New York. Pianist Kenny Werner is known for his work
with Joe Lovano and the Vanguard Orchestra, and was recently nominated for a
Grammy for his recording with Toots Theilman. Bill Mobley is one of the top call
New York trumpeters. Pianist James Williams was musical director for Art
Blakey's Jazz Messengers and Elvin Jones's Quintet. Bassist John Lockwood and
June 2004, Cadence Magazine
Some think of a homegrown effort, this disc presents a cache of music from Scott Reeves. It's also the debut release of a new label presumably under the trombonist/flugelhornist's helm. Two sessions, separated by several years and a modest span of New England geography, are intermixed to create a generous representation of his work to date. Reeves has heavy friends helping him in the cause. Mobley hails from Memphis, Werner from Brooklyn, and Lockwood calls Bean Town his home. All are veteran session men with lengthy sets of credentials and each adjusts to the setting well. Brass plus rhythm section proves a winsome team-up and the creative connotations attached to the music are of a more quiet ordered kind most of the time. "Saudado" starts the set with a light effervescent Latin beat, ideally suited to the curvaceous phrasings of Reeves and Mobley. The former's solo draws on a lubricious manner of articulation in line with the likes of J.J. Johnson or Frank Rosolino. Mobley's trumpet is punchier, but still well mannered in terms of voicing. On the unison passages the two make for a sleek, mutually enhancing blend. The title track achieves a similar confluence over a more agitated up-tempo backdrop. Lockwood's bass line acts as wily insurgent, supplying forceful counterpoint to the horns and keeping the tune slightly off balance in the bargain. With bassist as stout harmonic pivot, the horns are free to push outside their comfort zones and the results rank as an early highlight to the program. Williams assumes the piano chair on the Strayhorn influenced ballad "Strays" and his eloquent chords, backed by Gullotti's brushes, accentuate with the mellow, at times mournful, muted brass of the frontline partners. Reeves' languorous cadenza to the piece serves as serene summary. Janet Reeves, no doubt a relation of the leader, guests on a bright reading of Kurt Weill's "Speak Low." The band responds to her lithe vocals with lively support. Reeves' switch to didgeridoo on the Buddhist inspired dirge duet "You Are What You Think" isn't as smooth and feels a bit disruptive to the album's overall flow and design. Three lengthy tunes round out the program beginning with Reeves' own "Remembrances." All find him shelving trombone for flugelhorn and the decision makes sense given the more soothing nature of the material. "Ciao Luna" traffics again in modal Latin-tinged sounds and an upbeat romping rendition of "Spring is Here" completes the package. Reeves' decision to release his music through grass roots means may seem short-sighted to some, but in this day and age it's likely the most effective way of raising and eye-catching flag to his art. Derek Taylor ©Cadence Magazine 2004. Published by CADNOR Ltd. All rights reserved. Reproduction or use of contents prohibited without written permission from publisher (except use of short quotes, please credit Cadence: www.cadencebuilding.com ph: 315-287-2852).
January 2004, jazzreview.com January 2004, ejazznews Listen to this CD online at CD Baby, http://www.cdbaby.com/cd/scottr |