Pianist Steve Colson Returns with A Powerful New Recording

Pianist Steve Colson has been a member of the AACM (Association for the Advancement of Creative Musicians) since the early '70s, yet he is not a well known artist today. On the basis of his new piano-trio-plus-vocalist session The Untarnished Dream (Silver Sphinx), that relative neglect is undeserved.

This is not just any trio. When you have the burnished excellence of players like bassist Reggie Workman and drummer Andrew Cyrille, you have a most auspicious foundation. They deliver what you would expect. Adegoke Steve Colson writes music that has an abstract bop-and-beyond inclusiveness and a memorable quality. He reminds slightly of Andrew Hill, in the way he incorporates harmonic and rhythmic fundamentals of the music into a freely modern sensibility. That is not to say that he sounds like Hill, only that they both have a certain approach to modernity in common.

Colson's playing on these sides is a revelation. Whether relatively inside or more in the free realm, his pianism reflects the depth of someone who has drunk deeply at the well of inspiration and self-actualisation, and for a considerable time at that. He swings when he wants to and he spreads out the notes into a Byzantine fan of colors when he wants to. Andrew Cyrille and Reggie Workman follow and support with the master touch.

The pieces range from earlier compositions of the '70s to those written virtually yesterday. They give you a good idea of the scope of his writing talent.

The trio is joined by vocalist Iqua Colson for four of the numbers. She is a singer that has immersed herself in the music and shows a faithfulness to the nuances of Steve Colson's phrases to such an extent that it's hard to imagine a better vehicle for their performance. She is not a cabaret vocalist, thankfully; she is a musician's vocalist.

The Untarnished Dream provides a fascinating taste of an artist who clearly deserves wider recognition. Steve Colson goes his own way. We should follow along with our appreciative ears. This CD gives one a most compelling argument why that should be so. Colson is vital.

Pianist Julio Resende Puts A New Shine on Mainstream Jazz

In recent months thanks to Cleanfeed, Ayler Records and the kindness of Rodrigo Amado, I've gained a new appreciation of the Portuguese jazz scene today. It's vital. Julio Resende's new CD Assim Falava Jazzatustra (Cleanfeed) brings that home once again in a direct and exciting way.

Julio leads a fine quintet on this recording and they do a series of originals and a cover that provide much interest and variety. The music is in a freebop-and-beyond vein with the riffing rockish drive of "Don't" to the mesmeric "Ir e Voltar " (with superior guest vocalizing from Manuela Azevedo) and much in between to spark the senses and stimulate the ears. A big surprise is a bluesy balladic solo piano cover of Pink Floyd's "Shine On You Crazy Diamond" that works perfectly.

Resende reflects the influence of early- to mid-Jarrett but uses that as a springboard to what is hard driving and contemporary all the way. As a soloist he is a clone of nobody and shows pianistic subtlety as well as formidable linear thrust. Alto saxophonist Perico Sambeat and tenorman Desiderio Lazaro are also strong soloists and with Resende's imaginative improvising form a consistently revelatory triumvirate. Doublebassist Ole Morten Vagan has moments to shine as well and acquits himself with some very lively discourse.

When a session like this (recorded live incidentally) works well it does so for the pieces, the soloing and the push of the rhythm section. Assam Falava Jazzatustra comes through with all of those elements in place. Is Resende the Zarathustra of jazz? I don't know and it is only an encapsulating idea to get you pondering at any rate.

This is a blast to hear! I recommend that you do so!