Latest CD releases reviewed
CHARLES LLOYD
Jumping the Creek ECM
***
Saxophonist Lloyd's latest features his current quartet with Geri Allen (piano), Robert Hurst (bass) and Eric Harland (drums). In an approach best described as open and fluid, rather than loose and meandering - though there's an occasional tendency to wander, and one or two short pieces abruptly terminated seem inconclusive - the leader mixes duos and trios with quartet performances encompassing a wide range across more or less free improvisation, Middle East incantation and the affectingly straight. As ever, Lloyd spans the gentle and the fierce; there are lovely, serene, prayerful invocations of Ne me quitte pas and Come Sunday, alongside impassioned, 'Trane-like flows on his Georgia Bright Suite and Song of the Inuit (where he plays alto). Allen is in fine form, Hurst solid and Harland remarkable. Oddly compelling. www.musicconnection.org.uk
Ray Comiskey
KATE MCGARRY
Mercy Streets Palmetto
****
This, McGarry's second CD as leader for Palmetto, shows that she's maturing impressively as a singer. In the sparse setting of two guitars, bass and drums she takes on a range of material by Joni Mitchell, Björk, Peter Gabriel and originals by Fred Hersch (who guests on two tracks), husband Keith Ganz and herself, along with some superior standards, and stamps her personality authoritatively on them. Standouts on a generally successful release include beautifully poised interpretations of Whatever Lola Wants, How Deep Is the Ocean, the title track and Hersch's Stars (lyrics by Norma Winstone); there's even a persuasively done gospel piece, Trouble of the World, to savour. As a jazz singer McGarry's the real deal, without recalling anyone else. www.palmetto-records.com
Ray Comiskey
CHET BAKER
Sextet Pacific Jazz
***
These mid-'50s performances have appeared somewhat piecemeal over the years, so Baker fans may welcome this more coherent and complete reissue. The sextet involved Bob Brookmeyer (valve trombone), Bud Shank (baritone) and a Russ Freeman-Carson Smith-Shelly Manne rhythm section, with arrangements by Jack Montrose, Johnny Mandel and Bill Holman, which allowed space for blowing. Baker was in fine form on trumpet, as were the others, and the results have the laidback charm of that West Coast era, although producer Dick Bock, notorious for his tape edits, did his usual scalpel thing. Four later performances with Baker fronting a french horn/bass clarinet/ bassoon/cello/bass combination, which produced more adventurous but less lively music, round out an album of historical interest.
Ray Comiskey
