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Moment to Moment Tribute Mobro

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Moment to Moment Tribute Mobro jazz undergraduates—are certainly the big draw on this set, and vibraphonist and co-producer Mark Sherman is no slouch either. So how does the saxophonist with the extremely long ponytail fare with this group? Just fine. Hegarty has respectfully compiled this set in honor of his mentors, which includes a lot of saxophonists. Over 10 tunes, he tackles the works of George Coleman, Joe Henderson, Frank Foster and, most prominently, Jimmy Heath. Reid opens the proceedings by laying down a foundation for Heath’s “A New Blue,” return- ing later in the tune for a subdued solo. Foster’s bluesy waltz “Simone” is treated to a soul-satis- fying rumble with Hegarty breathlessly taunt- ing his horn from top to bottom. On Hegarty’s original tune “Low Profile,” Cava Menzies/Nick Phillips Tim Hegarty Barron and the saxophonist engage in an all- Moment To Moment Tribute too-brief duet on the melody, while Henderson’s NICK PHILLIPS MUSIC 142101 MILES HIGH RECORDS 8623 “Inner Urge” gets a brisk reading to close out ★★★★ ★★★½ the album with Allen’s assured cymbal work propelling the ensemble. Hegarty agreeably Nick Phillips’ name is on hundreds of major When saxophonist Tim Hegarty headed for the proves himself with a rich and swinging mood recordings, but not as a player. He’s produced a studio in late August 2013, he probably knew throughout the set, seizing the opportunity to slew of artists, and crucial jazz reissues, for such he was going to come away with a pretty solid shine over his stellar accompaniment. labels as Concord, but his track record at this job keepsake. With the piano bench reserved —Sean J. O’Connell should not overshadow his pristine, and moving, for Kenny Barron, upright bass duties han- trumpet sound. Tribute: A New Blue; Amsterdam After Dark; Simone; Ineffable; dled by Rufus Reid and the drums finessed by New Picture; Not To Worry; Low Profile; Gingerbread Boy; Pannoni- Pianist Cava Menzies has another identity Carl Allen, it would have been astounding had ca; Inner Urge. (70:23) away from her instrument—she’s an accom- Personnel: Tim Hegarty, tenor, soprano saxophones; Mark things not turned out swinging. Sherman, vibraphone; Kenny Barron, piano; Rufus Reid, bass; Carl plished music teacher in Oakland, Calif., where These first-call players—not to mention edu- Allen, drums. she specializes in training vocalists. cators to a large percentage of the tri-state area’s Ordering info: mileshighrecords.com They’ve been working together for less than two years, which makes their warm affinity on Moment To Moment that much more remarkable. Then again, it may be no surprise that Menzies has John Ellis & Andy Bragen a natural rapport with a trumpeter: Her father is Mobro Eddie Henderson. PARADE LIGHT RECORDS 001 Menzies’ seeming delicacy contrasts with HHHH bassist Jeff Chambers’ strong intro on the quar- tet’s version of Jimmy Knowles’ “The Peacock.” Listeners may know reedman John Ellis as a pur- But she shows off a subtle toughness on her origi- veyor of groove music, given his years with Charlie nal “Mal’s Moon.” Whether or not it is a tribute to Hunter and his own work as a leader of small Mal Waldron, she echoes his astute use of repeti- groups. But he’s a composer with a considerable tion and his ability to insert just the right amount range and broad palette. Mobro, originally com- of blues (Waldron connected with singers, too). missioned by New York’s Jazz Gallery, is his third Then she frames Phillips’ dynamics before sound- collaboration with librettist Andy Bragen. It con- ing like she’s conversing with, or challenging, him cerns the tragi-comic true story of the trash barge on the next track, a sparse reading of “For All We Mobro 4000 from Islip, N.Y., that in 1987 traveled Know.” the world searching in vain for a port that would The trumpeter’s only composition on Moment accept its cargo. (It ended up back in Islip.) To Moment, “You,” features a lyrical melody and Ellis and Bragen use this event as a metaphor a usually understated solo played against drum- not only for encroaching global environmental Kendrick) has the cast of a jazz standard, and the mer Jaz Sawyer’s light touch on mallets. But then havoc, but also for the perennial drift of internation- bolero “Mourning” (sung by Becca Stevens) is equal- Phillips will add in his own subtle jolts, especial- al human exiles seeking refuge, rejected like trash. ly beautiful. As for the metaphor, it doesn’t always ly smeared notes. What that means musically is richly colored, brass- neatly contain the parallel between human trash and This group’s reading of Elvis Costello’s heavy arrangements for nine-piece band in which just plain trash—the lyric “Here in filth we lie/ Sick “Almost Blue” is also a low-key revelation. While the “voice” of the garbage is personified by four sing- and hungry” seems not to apply to inanimate refuse. Chet Baker’s performance of the tune during ers. The vocalists trade verses, wordless melodies and On the other hand, the rhythmic hook of a lyric like the ’80s has been the most noted version in jazz, backing harmonies, with Miles Griffith usually play- “We’re not like you/ You are garbage!” is tough to get Phillips nods to his predecessor’s fragility but also ing the heavy as, say, the voice of a storm at sea. The out of your head. —Jon Garelick imparts a feeling of strength that comes through a nautical imagery ranges from that pending storm to Mobro: Anticipation; Sailing; Storm; Rejection; Mutiny/Rebellion; sense of restraint. —Aaron Cohen “Sailing,” swinging in a gentle wave-like triple meter, 2nd Rejection; Military; Doldrums; Snarl; Self-Knowledge; Mourn- ing; Celebration. (72:00) to the stasis of “Doldrums,” conjured with electron- Personnel: Becca Stevens, Miles Griffith, Sachal Vasandani, Moment To Moment: The Peacocks; Mal’s Moon; For All We ics, the sound of softly lapping waves, creaking tim- Johnaye Kendrick, vocals; John Ellis, tenor, soprano saxophones; Know; You; You Don’t Know What Love Is; Almost Blue; Phantoms; Alan Ferber, Josh Roseman, trombone; Shane Endsley, trumpet; Speak Low. (56:02) ber, and fragments of dialogue. John Clark, French horn; Mike Moreno, Ryan Scott, guitar; Joe Personnel: Nick Phillips, trumpet; Cava Menzies, piano; Jeff The walking-bass, medium-tempo jazz swing of Sanders, bass; Rodney Green, drums; Roberto Lange, sound design. Chambers, bass; Jaz Sawyer, drums. “Self-Knowledge” (sung by Griffith and Johnaye Ordering info: johnaxsonellis.com Ordering info: nickphillipsmusic.com 62 DOWNBEAT MAY 2014.
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