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Selective Amnesia

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Selective Amnesia RECORD REVIEWS ADAM TARSON NOLATET VARIOUS ARTISTS Selective Amnesio Dogs Detroit Jozz City Adam Larson, tenor saxophone; Matthew Stevens, The Royal Potato Family RPF 1601 (CD). 2016, Nine ensembles with Detroit ties guitar; Fabian Almazan, piano, Fender Rhodes; Matt Misha Kachkachishvili, prod.; Brian Luce, mastering. Blue Note 8002405002 (CD).1961-2015. Don Was, Penman, bass; Jimmy Macbride, drums DDD? TT:30:53 Francis Wolff, Alfred Lion, Duke Pearson, prods.; Eric (CD).2015. lnner Circle INCM 054 Ted Tuthill, prod., PERToRMANcE !E-'!l-l Morgeson, unidentif ied others, engs. AAD/DDD? eng. DDD. TT: 51:58 TT. 69:31 soxrcs PERFORMANCE ffi EXf,E PERFoRMANGE lE--U soNrcs Ef,f,Xt soxrcs EXEEd Traditionaljazz in New Orleans is a A compelling young tenor player century old, and still thriving in clubs This record offers a quick education on the New Yorkjazz scene, Adam all over the city. But there's also a in the 50-year history ofa speaaljazz Larson released mo albums before vibrant contemporary jazz scene that's community. From the long list of coming aboard Greg Osby's Inner not as well known and is much harder badasses who came from Detroit, four Circle label for Selectiue Amnesia.'fhis to find. Some of the most creative are represented here, in rracks from new oucing is as fine a showcase as he young musicians in the world are in- the 1960s: ElvinJones,Joe Hender- could want: all origrnal tunes, a top-tier teracting in upstairs galleries and small son, Donald Byrd, and Kenny Cox. band, vividly rendered sound recorded clubs to make music that embraces There are five new tracks by players at Manhattan's Sear Sound. But strong the spirit of the past as well as the pos- ftom Detroit, both prominent (]ames recordings by yorng jazz bandleaders sibilities of the future. Carter, SheilaJordan, Marcus Belgrave) are many. Larson takes the extra step, The newest expression of this talent and not (Marion Hayden, A. Spencer making his case as a refined, imagina- is Nolatet, a chamber jazz quartet that Barefield). tive composer whose highly complex parallels the advances made a genera- DetroitJaz City is t benefit album. ideas retain melodic accessibility and tion ago by the ModernJazz Quartet. Proceeds go to a southeastern Michi- allure. The funly strut and modified The instrumentation is the same-pi- gan organization, Focus: HOPE. It blues harmonies of the colorfully ano, vibraphone, bass, drums-but the opens with "The Uncrowned King," named "ShitPay" spring to mind. conception takes improvisation to an- an anthem both confrontational and Larson's cohorts, including rising- other level. Mike Dillon's vibraphone elusive. The leader is the propulsive star drummerJimmy Macbride, bring and Brian Haas's piano combine in bassist Hayden. tumpeter Rayse Biggs, not only virtuosiry but a deep subtlery some beaudful delicate unison themes tenor saxophonist Vincent Bowens, and and seasoning to the material. Guitarist and variations, particularly the gor- alto saxophonist Cassius Richmond Matthew Stevens emerges as a lead geous album opene! "Pops," a piece of all kill. It is pure Detroit hard bop, but voice alongside Larson, summoning a stately quietude that recalls the MJQ's in a wilder, looser, new-millennium crisp tone and devouring every tangled "Skating in Cenrral Park." version. Hayden s rhythm section also unison line Larson can throw at him. The real stars ofthis ourfit, though, backs Carter's ferocious soprano saxo- The facts that Stevens doesn't solo until are the rhythm section, bassistJames phone in "Many Blessings." track 3, "McWendel," and carries the Singleton and drummerJohnny "Mode forJoe," {rom 1966, and melody of "Graritude" by himself the Vidacovich. These magnificent players "French Spice," from 1961, remind us fust time through, prove Larson's abil- have been a team for some 40 years how compelling Henderson and Byrd iry to mix it up in the ensemble and in one of the ciryt flagship modern- were in their primes, and establish keep the texnrres fresh. jazz ottfrts,Asrral Project, and have in- a lineage to Bowens and Biggs. The Bassist Matt Penman, the veteran of teracted, together and separately, with figures who tie it all together are the group, begins "Gratitude" unac- all aspects of the city's music, &om Jordan and Belgrave. They both lived companied, solos with depth and second lines and Mardi Gras Indian the whole history. Accompanied by poise in the rhythmicaily inrricate accompaniments to string quartets. Hayden, they make new statements "Disguise," and provides a low-register Their brilliance can be heard in the for DetroitJazz City.Jordm, now 87, is solidity that makes Larson's writing challenging "BongoJoe," a tribute to strong and clear in her Detroit auto- sparkle. Pianist Fabian Almazan, as ac- the legendary srreet musician and per- biography, "Sheila's Blues." Belgrave companist and soloist, is simply aglow. cussionist George Coleman, who was plays heatfelt, hard-nosed trumpet in Larson shines consistently on teno! a fixture at the New OrleansJazz and his ballad "Lottie The Body's Mood." whether in the grooving rracks or the Heritage Festival in its early days. He died at78,ir2015. This album is Iyrically swinging "suitable Replace- -John Srenson dedicated to his memory. ment" and "Your Loss."-DrvidR-Adls -Thomc Coruad stereophile.com . April 2016 179.
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