Magic Line-Review
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April 2001
Bassist Scott Colley has established himself as a bassist who is quite in demand, having played and recorded with a range of artists including Jim Hall, Carmen McRea, Fred Hersch, Joe Henderson, Joe Lovano, and Andrew Hill. This is his fourth release as a leader, and the second featuring the trio of Potter and Stewart (8/00, pg. 46). Colley studied with bassist Charlie Haden and that influence shows. Like Haden, the bassist has a warm, melodic tone and a flexible, open approach to improvisation. He has chosen his trio mates wisely. Reed player Chris Potter continues to prove himself as one of the more interesting younger players, particularly in his recent stint in bassist Dave Holland's group. Bill Stewart honed his skills as a member of John Scofield's ensemble as well as by freelancing in a variety of contexts. Their collective experience and approach to Jazz improvisation provides a potent setting for this set of eleven originals including pieces by each of the three.
From this funky groove of the opening piece, they take off. The leader provides a muscular foundation for the improvisations, taking an active role in shaping both the melodies and the rhythmic flow of the music. He delivers a resonant, dark attack sweeping across the themes and stretching the flow without ever losing the pulse of these compact propulsive pieces. His solos have an inventive melodic thread, taking off on the songlike themes and extending them with resourceful artistry. Potter provides an effective match. His playing bustles with energy and there is a keening urgency to his phrasing that fits well with Colley's coursing pulse. On tenor, he can flit at the top of the horn, tossing off lines with a tart edge and then dive down to the rich rounding bottom. On "Metropolis," his bubbling bass clarinet floats along with Colley's stately flow and Stewart's resounding gongs and simmering rhythms. Stewart is the perfect foil for Colley and Potter. He knows how to play around the meters without ever losing the propulsive drive. He is able to kick the improvisations along without ever resorting to flashy showmanship, keenly listening and navigating the collective development of the music. These improvisations are delivered with a commanding and dynamism that demand repeated listens.
Michael Rosenstein |
| Cadence |