Cyrus Chestnut the Cyrus Chestnut Quartet WJ3 by Philip Booth
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09/19/11 Cyrus Chestnut The Cyrus Chestnut Quartet WJ3 By Philip Booth A certain naturalism and hard-earned grace run through the compositions and playing of Cyrus Chestnut, the Baltimore-bred modern-mainstream player best known for his work as a resourceful solo pianist and dynamic leader of trios. But those qualities shine through again on The Cyrus Chestnut Quartet , his first recording as a leader in that format. Joined by recent triomate Dezron Douglas on bass, tenor and soprano saxophonist Stacy Dillard and drummer Willie Jones III, Chestnut unveils a half-dozen new tunes that make worthy additions to his impressive body of originals. Gospel-blues shades color several pieces, notably “Annibelle Cousins,” its laidback groove driving a slinky melody sounded by Dillard’s tenor and tagged with a seeming nod to the spiritual “Joshua Fit the Battle of Jericho.” The piece, one of the album’s highlights, proceeds with a long open section for Douglas’ melodic solo, punctuated with slides and galloping figures, before opening up for sprawling turns by Dillard and Chestnut. Blues textures also liven the medium- tempo groover “Indigo Blue,” featuring another subtle-to-splashy piano turn, and the slow-moving closer, “Mustard,” characterized by a Kind of Blue feel. Douglas’ contribution, “What’s Happening,” is a zippy bop gem with well-utilized space for Jones, while Barney Wilen’s opening “No Problem” features a catchy head attached to rhythms that switch from Latin-tinged to swing. Chestnut’s other tunes here—the lovely ballad “Dream,” the soprano-led charmers “Waltz for Gene and Carol” and “Solace”—are similarly invigorated with the help of a group of accomplished players whose sensibilities mesh nicely with the leader’s approach. Cyrus Chestnut Trio: Journeys (2010) By LARRY TAYLOR, Published: December 30, 2010 During a career spanning 20 years, Cyrus Chestnut has risen to be one of the most esteemed and productive of jazz pianists.Journeys makes 16 recordings under his name. He regularly performs with his trio and is the go-to guy on numerous recording dates and gigs. Having apprenticed with the incomparable vocalist Betty Carter, Chestnut's playing displays a style and technical virtuosity that has him compared to jazz legends from Jelly Roll Morton andOscar Peterson to Tommy Flanagan. Not associated with a particular style, he displays a wide range with his roots in church music, planted by his father, a pastor. Journeys features his current touring partners—bassist Dezron Douglas and drummer Neal Smith—turning out an estimable recording that amply shows off his compositional skills in nine originals. The recording starts with a blast on "Smitty's Joint," with Chestnut's fingers a blur on the keyboard. Douglas adds a spirited bass bit and Smith contributes vigorously. Chestnut then has fun with the disc's only standard, Rodgers and Hart's venerable "Lover," upping the tempo and bringing in boppish filigrees. Throughout, Chestnut embellishes songs in creative ways. On "Eyes of an Angel," he uses tremolo effects to decorate the simple melody, while "Little Jon" starts with a jive riff and proceeds to a stirring climax. With the title tune, Chestnut does evoke a journey; a majestic march to Smith's fluttering drums. "Yu's Blues" is a moody late-night blues, with the noirish Douglas' enhancing the feel. "Goliath" is the album's showpiece, its complex structure beginning quietly, but moving to a mesmerizing climax, amidst Chestnut's swirl of notes, layered over Douglas' steady bass line. This song represents what Chestnut shows throughout Voyage—an ability to surprise, with unexpected turns and provocative phrasing. Cyrus Chestnut Trio at Jazz Standard November 12th NOVEMBER 27, 2010 BY: LAYLA MACORAN When the Cyrus Chestnut Trio (Chestnut- piano, Dezron Douglas-bass, Neal Smith-drums) performed at Jazz Standard November 12th, NY Culture Examiner wondered where he hid the third hand. It seemed highly unlikely that Chestnut could be so fluid without the support of additional digits. I was wrong. The opening scorcher, “Broadway”, was the first suspicion of the pianist being a Tatum- esque three-handed wonder. The trio wasted no time in revealing a style that is classic without waxing nostalgic. The second song, “Hugh’s Blues”, was a pretty swinging ballad. It sounded like a jazz that’s not quite east coast, yet not really full-fledged bluesy. Bassist Douglas has those thick fingers made for thumping. The piano sounded like a curtain blowing easily in the breeze. Then, the groove moved into a slow grind. It danced and swayed. Assured that, not unlike Christian McBride a week earlier, there would be no flaws, I leaned back and embraced the moment. They moved into “Goliath” without stopping to chat. No worries there; it worked. The first few minutes were solo, with a more elegant flow. When Chestnut did speak, the Middlebury College professor revealed himself. “Improvisation on this stage is paramount,” he said. “Composition is improvisation at a slow pace with an eraser in your {mind}…or, improvisation is composition without taking time to edit.” While the audience attempted to digest that bit of wisdom, the trio continued. “New Light” was more staccato than the others. Chestnut’s joy lit up the stage- perhaps the inspiration behind the title. Smith was simply outstanding throughout the piece. The next song had a contemporary gospel feel, particularly during the solo. An unexpected classic, “It’s Now or Never” (or “O Solo Mio”, depending on your historical knowledge), surprised the audience, especially when the urge to grab a partner and tango swiftly around the room hit. Truly unexpected indeed. Having heard but never seeing Cyrus Chestnut perform prior to this evening brought about a feeling of shame for the oversight. However, I was grateful to be reminded of the perpetual elation that occurs when faced with an exceptional talent capable of creating joyful musical moments. Cyrus Chestnut’s “Journeys” (2010, Jazz Legacy Productions) Written by Andrea Canter, Contributing Editor Thursday, 25 November 2010 “What makes Chestnut the best jazz pianist of his generation is a willingness to abandon notes and play space.” –Josh Tyrangiel, Time Magazine For over 20 years, Baltimore native pianist Cyrus Chestnut has been delivering the goods— swinging, gospel/blues inflected, largely original compositions that “keep the faith” of tradition in a modern context. With over a dozen releases and hefty archive of accolades, Chestnut never rests on his laurels, and his latest trio release, Journeys, is arguably his best collection yet. With current touring partners, bassist Dezron Douglas and drummer Neal Smith, Chestnut introduces 9 new compositions and a spirited reading of the Rodgers and Hart classic, “Lover.” Throughout the set, one hears an amalgam of Chestnut’s influences, from Jelly Roll Morton to Oscar Peterson to Tommy Flanagan to Bud Powell to Ahmad Jamal and (maybe most important in recent years), former mentor Betty Carter – Chestnut embodies the history of jazz at every turn. The set launches in high spirits with “Smitty’s Joint,” the fast-paced lines and bouncy chords ripe for toe-tapping and full –body swaying; young Dezron Douglas adds a punchy solo and Smith spatters and pops. The one standard, “Lover,” rather than sultry or sentimental, swings casually, Chestnut injecting little spaces that add playful tension and stretching lines with boppish twists and Petersonian flourishes. “Eyes of an Angel” and “New Light” take pages from the thick (and slightly Latinized) voicings of McCoy Tyner; the crystalline musings of “Little Jon” hint at the rhythmic sleight-of-hand of Ahmad Jamal; “Yu’s Blues” has traces of Jarrett, even Moran, with Douglas nearly stealing the show with his deep-throaty basslines; “In the Still Hours” recalls traditional spirituals as much as modern prayer. Perhaps most masterful of all, the closing “Goliath” begins as a gentle hymn, evolving into a boldly delicate incantation with rhythmic variations that sustain the track through its nearly nine minutes; Douglas sends his double-stop filled meditation skyward, with Chestnut unleashing a spate of aggressive lines before returning to a closing verse of solemn restraint. Journeys reaffirms Cyrus Chestnut as a major force in mainstream piano jazz, as performer, composer, and bandleader. .