Hal Galper Trio: Trip the Light Fantastic

Origin Records
By Ric Bang
Buy CD: Trip the Light Fantastic

If you aren’t familiar with pianist Hal Galper, you haven’t been paying attention. He was a scholarship student at Boston’s School of Music, just a few years after it came into existence in the 1950s; he has more than 80 recordings to his credit — 20 as a leader — and, in addition to his skill as a pianist, is a composer, arranger, publisher, teacher and author.

Galper always has been ahead of his time. In a biographical note, he recalls that, “For a time I was a free player. It became obvious that this wasn’t in vogue in Boston, when my fellow musicians ran off the bandstand holding their ears.” Those “fellow musicians” were turning the jazz world upside-down at the time, playing a style identified as bebop ... which indicates just how advanced Galper was. Well, he’s still that kind of musician.

That said, his list of artistic colleagues proves that he was capable of throttling back to achieve compatibility with his peers. He was on the road with Chet Baker for three years, then spent an equal period with Cannonball Adderley, followed by 10 years with Phil Woods.

At that point, the urge to stretch out took hold, and Galper formed a piano/bass/drum trio and went back on the road. Jeff Johnson has been his bassist for more than seven years; he recommended John Bishop, who now is Galper’s drummer.

Jazz usually is played at a steady beat, whether 4/4, 2/4, 3/4 or other more exotic tempos. But a significant element of Galper’s style involves rubato: rhythmic flexibility within a phrase, often against a steady rhythmic accompaniment. This technique is used more in classical genres, but has become common in jazz as time has passed.

Three of the tunes here are old standards (“Alice in Wonderland,” “Guess I’ll Hang My Tears Out to Dry” and “Be My Love”); three are Galper originals, and one is by Ron Miller. You’ll first notice is that Galper is a “busy” pianist; less is not more with him. That said, his melodic lines certainly aren’t cluttered. Second, his style is demanding for the bassist and drummer, and these two artists provide excellent backing.

If you’re seeking something a bit different — which nonetheless swings — these guys should do it for you.

Scenes: Silent Photographer

Origin Arts
By Ric Bang
Buy CD: Silent Photographer

Scenes is the nom de trio of guitarist John Stowell, bassist Jeff Johnson and drummer John Bishop. These individuals have played with literally dozens of name musicians during their busy careers and, together or individually, have been involved in hundreds of recording sessions.

Their common thread? They’re part of the flourishing Pacific Northwest jazz population. Bishop is the founder of Origin Arts and OA2 Records, and he began Seattle’s annual Ballard Jazz Festival. Johnson often works with pianist Jessica Williams, another resident in the Seattle area, and tours with pianist Hal Galper’s trio. Stowell teaches and tours extensively outside the States and is particularly well known in Japan.

All three are consummate artists, and they share another characteristic: Each is a first-call choice by vocalists who select backup musicians for their recording sessions. That speaks volumes about their ability to meld effectively, and not overwhelm the featured artist’s melodic lines.

Most of the tunes on this album are originals by members of the trio. The exceptions are Herbie Hancock’s “Chan’s Song,” John Coltrane’s “Resolution” and Wayne Shorter’s Black Eyes. No matter who the composer is, the result is beautiful, relaxed, easy-listening jazz. Tempos range from balladic to up-tempo swingers, and the interplay among the artists is wonderful; their time together is quite evident during both the ensemble melodic lines and solo passages.

You should seek out any of the many albums with which these three master artists have been involved ... starting with this one.