How is a tenor supposed to sound? Here are two modern guys giving a nice little workshop.
Jerry Bergonzi teams up with alto saxist Dick Oatts to create a lithe and open air quartet with Dave Santoro/b and Andrea Michelutti/dr on a collection of delightful originals. Bop influence abounds, with warm breezes proved by the horns on the minor bluesy “Intersecting Lines” and the lusciously latin “Itchy.” Hints of Lennie Tristano’s West Coast cool sound come out on the fun “Marshland” and intellectually bopping “Dig Oatts” while some edginess gets into the sunshine on the joyful yet cerebral “Someplace Out/A Granny Winner.” With horns like these, long tones make for the best effects, and the contrast between Santoro’s pizzicato pickings and the languid lines on “Mo-ment” make for glorious listening. Dig this one!
JD Allen leads a quartet with Orrin Evans/p, Alexander Claffy/b and Jonathan Barber/dr that spotlights two sides of this up and comer. On one hand, he’s got a brooding tone that alludes to later period Coltrane with a restless agitation of multinote runs as on Jack’s Glass” and the restless “The Dreamer” as he ruminates over the busy rhythm undercurrents. Seriousness abounds on the kinetic “BLOOM” which gives hints of Barber’s stick work, to be brought to completion on his spotlight on “The Secret Lives of Guest Workers.” The other side of Allen is exhibited on standards; his gorgeously rich tone is in bel canto form on the laconic “If You Could See Me Now” and he delivers an aria on “Stardust” that would bring down the house at La Scala. A take of the 23rd Psalm on “Pater Noster” is wondrous and contemplative, making you feel this guy’s been to church a few times. Impressive sounds.
Savant Records