Jay Anderson – Deepscape – Steeplechase SCCD 31870 – 60:59 – ****
Jay Anderson is a jazz bassist that fits in just right, in most any jazz setting. He began his professional career just out of college, when he joined one of the last editions of the Woody Herman Orchestra. He then backed Carmen McRae, and after moving to New York City, became a first choice bassist, recording on over 400 recordings backing artists ranging from David Bowie and Frank Zappa, to Maria Schneider and Lee Konitz.
As a lead recording artist, he has been under represented , so it is a special occasion when he is given the opportunity to explore his own vision. His new Steeplechase CD release, Deepscape, finds Jay in chordless settings ranging from solo and duo, up to quintets. The eleven tune set list is as diverse as Anderson’s musical tastes.
In addition to two of his own compositions, there are tracks from Billy Joel, Keith Jarrett (two), Gil Evans, Jim Pepper, Branford Marsalis, and the classical composer, Morton Feldman. Musical motifs include free jazz, Native American, folk, pop, and post bop.
Basically, there is something for everyone with “open ears.”
Opening with the self composed title track, Jay blends four layers of bass with drone to set a foreboding mood. On “Shades of Jazz” and “Southern Smiles” there is an exploratory revisit to Keith Jarrett’s American Quartet of the 1970’s that featured Dewey Redman, Charlie Haden, and Paul Motian. Here we have cornet player, Kirk Knuffke and multi saxist, Billy Drewes, along with versatile drummer, Matt Wilson, given free rein to re-imagine the post bop freedom that Jarrett laid out forty years ago. Knuffke and Drewes make a good team both blending, and in counterpoint. On “Southern Smiles” the free jazz has a New Orleans overtone, and Anderson’s bass provides the structure for the horns to emote.
“Rothko Chapel” is the 5th movement of a composition from Morton Feldman, honoring the great American painter, Mark Rothko. It is described as “indeterminate music,” a composition that is left open to an interpreter’s free choice. John Cage was a pioneer of this musical genre. Frank Kimbrough’s harmonium contributes to the contemplative feel on this track.
Billy Joel’s “And So It Goes” is done by Jay’s solo bass, and its lovely gentleness would be at home both in a church or folk setting. It invites concentration to appreciate its beauty.
“Time of the Barracudas” from Gil Evans, using block chords done in 12/8 time, has a big city bustling vibe with a repetitive horn vamp, and soprano sax cornet blend, invoking a hectic downtown scene. Anderson’s “Momentum” is described by Jay as a 12 tone row blending of notes for a 78 note melody. It features Billy Drewes on soprano sax, and would be noteworthy in both an avant garde or classical venue.
“Witchi-Tai-To” from Native American jazz saxophonist, Jim Pepper, was made famous by Pepper, with its intoxicating vocal chant. Here Anderson opens with an extended solo, and Billy Drewes is given free flight on soprano honoring Pepper’s soulfulness. On “The Mighty Sword” the sax and cornet “converse,” darting in and out, in response to each other.
The final tune, “Tennessee Waltz” is done as a duet with Anderson and Frank Kimbrough’s harmonium. It’s fully improvised, as Frank had told Jay, “Let’s Just play..” The harmonium tone lingers as Anderson plays the familiar melody. It will bring a mist to your eyes if you love this Americana classic.
Jay has certainly set a wide swath of inspired music to enjoy on this winning release.
Highly recommended…
Musicians:
Jay Anderson – bass, Tibetan singing bowl; Billy Drewes – alto and soprano sax, bass clarinet; Kirk Knuffke – cornet; Matt Wilson – drums; Frank Kimbrough – harmonium; Rogerio Boccato – percussion
Tracklist:
Deepscape
Shades of Jazz
Rothko Chapel (5th movement)
Southern Smiles
And So It Goes
Time of the Barracudas
Sweet and Lovely
Momentum
Witchi-Tai-To
The Mighty Sword
Tennessee Waltz
—Jeff Krow
More Music and Information at Jay Anderson’s Website:
