There are times when you don’t even have to listen to an album, but you know that you’re going to get it just because of who’s on it. Bassist Ron Carter, drummer Jack DeJohnette, pianist Gonzalo Rubalcaba…any more questions?
It’s as good as you hope. They’re as comfortable, classy and stylish as well worn as 5 year old Bass Weejuns. DeJohnnette gives a workshop on skill and taste, giving somber sticks to Rubalcaba’s intro on “Silver Hollow”, brushing off the plate like an umpire and giving a snazzy solo around Carter’s lead on “Promendade” and digging into a hip groove with Carter with spare and spacious ivories on “Gypsy”. Rubalcaba gives a glorious solo aria on the spacious “Novia Mia” and is frisky and full fisted with the bebopper “Ronjackruba”, sauntering to DeJohnette’s lead on “Lagrimas Negras” and “Siempre Maria”. Put this one on “Replay” for the evening.
The same could be said for drummer Joe Farnsworth’s latest trio capades with piano vet Kenny Barron and bassist Peter Washington. These guys have swing and bop in there veins, flowing from the get go with Barron’s dancing digits on “New York Attitude” while his solo intro to “Surry With The Fringe On Top” mixes brushes and sticks like he’s preparing a camp fire. Barron taps into his inner Bud Powell on the bebop classic “Bud-Like” with Farnsworth ricocheting off the walls, while the team goes into a modal mood on the “Impressions”-istic take of “No Fills”. Washington gets a chance in the spotlight, taking the baton from Barron on “Moonlight In Vermont” and getting some room to move on “Softly As In A Morning Sunrise”.
Ava Gardner or Rita Hayworth? Which one to choose? Do a double date with these!