John Abercrombie, Peter Bernstein, Lage Lund, Rale Micic: Inspired

ArtistShare
By Ric Bang
Buy CD: Inspired

This group features four of today’s finest guitarists. The album is one of many projects sponsored by ArtistShare, founded in 2003 to connect artists with fans, in order to share the creation of new works. Since its launch, ArtistShare projects have garnered 10 Grammy Awards and 29 Grammy nominations. 

The four guitarists here have one thing in common: respecting and continuing master guitarist Jim Hall’s musical vision.

John Abercrombie and Peter Bernstein were born in the States; Rale Micic hails from Serbia, and Lage Lund from Norway. Abercrombie, Micic and Lund all studied at the Berklee College of Music; Bernstein attended New York’s New School. All credit Hall as a major career influence.

Three album tracks are Hall originals; the other eight are standards from the Great American Songbook. Only one, Hall’s “All Across the City,” features all four performers together. Four standards are done as solos: “Alone Together,” by Micic; “My Ideal,” by Bernstein; “Body and Soul,” by Lund; and “Embraceable You,” by Abercrombie. All the other tracks are duets: Hall’s “Dream Steps,” by Micic and Lund; Hall’s “Bon Ami,” by Bernstein and Lund; “My Funny Valentine,” by Abercrombie and Micic; “I’m Getting Sentimental Over You,” by Lund and Abercrombie; “I Should Care,” by Bernstein and Micic; and “I Hear a Rhapsody,” by Bernstein and Abercrombie.

This “must have” album is for listening, not dancing; it’s not a hard swinger, but it’s pure jazz nonetheless. Every melody is done  beautifully and softly, and will sooth your soul. These guys are true masters, and we’re blessed by their presence.

Ben Paterson: For Once in My Life

Origin Records
By Ric Bang
Buy CD: For Once in My Life

Those who are familiar with Ben Paterson probably know him as a pianist; he has released three albums on that instrument. This one, however, is his first on the Hammond B3 organ.

Paterson was born in Philadelphia in 1982, and he quickly began playing the piano, studying both classical and jazz. After graduating from the Settlement Music School, he enrolled at the University of Chicago; a year later, he was performing with NEA Jazz Master Von Freeman. That association lasted until Freeman’s death in 2012, at which point Paterson moved to New York City, to further his musical career.

He soon began working with artists such as Bobby Broom, Red Holloway and guitarist Peter Bernstein (who, with drummer George Fludas, is a member of the trio featured on this release). Paterson’s reputation grew rapidly; he joined groups that opened for the likes of B.B. King and Steely Dan, among others. Paterson also played at the 2006, ’09 and ’13 Chicago Jazz Fests; the 2007, ’08 and ’11 Chicago Blues Fests; and the 2010 Montreal Jazz Festival.  

So, how does he do on the B3? Quite well, thank you. In fact, he’s several rungs up that ladder, above any jazz organist I’ve hear lately. You’ll immediately notice Paterson’s touch; he’s soft and gentle, and, as a result, gets an expressive melodic line. For reasons unknown, too many organists use the instrument more like a cannon than a pistol; as a result, the surrounding instruments tend increase their volume, to make sure they’re heard.

Paterson’s second attribute is keyboard dexterity. The organ is larger and arranged differently than a piano, making it more difficult to navigate at increased tempos (which also has an effect on volume). 

Finally, Paterson has a marvelous ability to create — and play — inventive and melodic lines: a must  for a jazz artist.

He also swings quite nicely, and you’ll definitely groove right along.

The Blue Note 7: Mosaic — A Celebration of Blue Note Records

Blue Note Records
By Ric Bang • Originally published in The Davis Enterprise, 2.5.09
Buy CD: Mosaic

In January, Blue Note Records observed its 70th year of existence.

In recognition of that milestone, the label released this album and initiating a 51-city North American tour of the septet that recorded it. When Alfred Lion founded the label in 1939, he intended to “create a forum for composers to write music,” and he trusted them to “go ahead and do what they did best.”

The songs included were selected from the vast catalogue of music recorded during the company's 70 year span, and are favorites of those directing this enterprise. All are covers of tunes previously done by other artists in the Blue Note stable; all but two — McCoy Tyner's “Search for Peace” and Herbie Hancock's “Dolphin Dance” — were rearranged by members of this septet.

This group of artists, described as “the next generation of major players, arrangers and composers,” features pianist and leader Bill Charlap, trumpeter Nicholas Payton, tenor saxophonist Ravi Coltrane, alto saxophonist/flutist Steve Wilson, guitarist Peter Bernstein, bassist Peter Washington and drummer Lewis Nash. Each is excellent, as is the group as a whole.

The library featured is mellow, and the meters selected generally are mid-tempo; everything is smooth and thoughtful, with no frenetic instrumental “screaming.” The tunes will be familiar to all jazz fans: Cedar Walton's “Mosaic” (written for Art Blakey's group), Joe Henderson's “Inner Urge,” Bobby Hutcherson's “Little B's Poem,” Thelonious Monk's “Chris Cross,” Duke Pearson's “Idle Moments,” Horace Silver's “The Outlaw” and the two mentioned above.

The tour performances — which began in Washington, stopped here at UC Davis on Jan. 13, and will continue across the country before concluding with a six-night run in mid-April, at New York's Birdland — will include additional songs, also from the extensive Blue Note library.

This is an epic endeavor, and the album is well worth your time. If you missed the Blue Note 7 when they hit town a few weeks ago, here's a chance to experience at least a part of their magic.