Still too young to vote or go into most jazz clubs, Joey Alexander made a big sensation with his debut album last year. The first one is always easy, as there are no expectations; the question is “What does the followup portend?”
The future looks very bright. He teams himself up with bassists who trade off in Larry Grenadier and Dan Chmielinski and drummer Ulysses Owens Jr for a mix of standards and originals. Concerning the latter, his touch is already confident, spacious and patient. He has no desire to show off his chops and uses silence as judiciously as Ahmad Jamal as the percussion rumbles on his own “City Lights” and his hint of bluesy gospel over the brushes on “Sunday Waltz.” His solo read of “Smile” is gentle and contemplative as well. What is most intriguing, and probably comes with the territory of a young artist, is that he can give hints of the composer he is interpreting. With Chris P otter’s soprano, he delivers an impressionistically Blue Note read of “Maiden Voyage,” a kinetic work through the obstacle course stick and bass work of Thelonious Monk’s “Criss Cross” and gives percussive Ellingtonian assertiveness for Billy Strayhorn’s exotic “Chelsea Bridge.” He definitely has the chops, as displayed on the baptism by fire of John Coltrane’s “Countdown,” so at this stage it’s simply a matter of perfecting one’s own sound. He’ll get there, and in the meanwhile the accompanying ride is a joy.
He’s coming to LA October 15, and you won’t want to miss it. www.thebroadstage.com
Motema Music