Latest CD releases reviewed

MARC COPLAND
Night Whispers Pirouet *****

Copland has played with Drew Gress (bass) and Bill Stewart (drums) before, but this is the first time they have recorded as a trio. The thoughtful, poetic pianist's signature sense of line and harmony is intact, yet in this trio he seems to have been drawn into more overt areas without diluting what makes him so special. Gress remains a wonderfully flexible fulcrum, but it's the interaction between Copland and Stewart that most determines the chemistry here. Performances such as So What, Night Whispers, Space Acresand the blues-based Scattered Leavescombine assertive swing with Copland's unique feel for colour and mood, while even The Bell Tollsturns into something close to rapture. Three brief and terly different solo piano visits to Emily, a mournful Like It Never Wasand a gorgeous I Fall In Love Too Easilyallow his more reflective side to express itself on what is one of the albums of the year. 
www.pirouetrecords.com

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MARK MASTERS ENSEMBLE
Farewell Walter Dewey Redman Capri ****

Redman died before he could record these big-band arrangements of his music, so the great saxophonist's place was taken by Oliver Lake, whose astringent, inside/outside alto is, with Tim Hagans (trumpet), among the main solo voices here. Lake doesn't entirely banish the wish that Redman was still around, but he plays with great authority and his tart individualism suits Masters's superbly vinegary voicings of Redman's often angular originals. He is striking on Sitatunga, Thren, Le Clitand a sensual, masculine blues, Boody, and imparts a lemony lyricism to the ballads My One And Only Loveand Joie De Vivre. In a loose, powerhouse ensemble, Hagans is also outstanding, while he, Lake, Dave Carpenter (bass) and the wonderful Peter Erskine (drums) contribute two exemplary free quartet improvs, Transitsand Adieu Mon Redman.
www.caprirecords.com

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BILL CUNLIFFE
The Blues And The Abstract Truth Take 2 Resonance ***

In revisiting these classic takes on the blues, pianist/arranger Cunliffe sought a balance between revision and if-it-ain't-broke-don't-fix-it; there's some revoicing of the original septet ensembles, a bit more dissonance here, some counterpoint added there. The instrumentation is altered; Andy Martin (trombone) is in for the original baritone and a soprano double is added to the alto/tenor saxophones. But the character of the late Oliver Nelson's splendid pieces is preserved and refreshed. Guests Terell Stafford (trumpet) and Jeff Clayton (alto) beef up the solo strength, with Martin and Cunlife's brilliant bop piano big pluses. They don't match Hubbard, Dolphy, Bill Evans and, maybe, Nelson, their illustrious predecessors, but they're good and the ensembles are executed with precision and verve. Best of all, the sheer joy in playing is palpable.
www.resonancerrecords.org

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