 Live In Seatle | | Personnel:Joe Locke: vibes, Geoffrey Keezer: piano/keyboards, Mike Pope: acoustic & electric basses, Terreon Gully: drums | Tracks:1. Van Gogh by Numbers 2. Honu 3. Fractured 4. Native Son 5. Miramar 6. Tulipa 7. The King | |
A suitable preamble for this review might include the following descriptors: spontaneous, controlled, innovative, melodic, inventive, raucous, sensitive, energetic. These are some of the adjectives that come to mind while listening to Joe Locke’s CD “Live in Seattle”. This is a first rate group that convincingly epitomizes the contemporary musical sound. Basically the review could end here and you could get the CD and not be disappointed. Two observations are apparent: the original compositions are very strong, and the ensemble work is seamless as brick and mortar throughout. The first tune “Van Gogh By Numbers” by Joe Locke, will catch you off guard beat wise – it consists of a bar of 8/8 followed by a 7/8 bar. This recurrent rhythmic pattern germinates from a G minor tonal base. It also serves as a piano/bass ostinato background to a drum solo by Terreon Gully. The high quality soloing here by Locke and Geoffrey Keezer sets the standard for the entire CD. “Honu”, penned by Mr. Keezer, is a hypnotic C minor piece with a 6/4 feel and hints of minimalism that features vibes and piano in some sparkling ensemble passages. Keezer’s “Fractured” follows which again showcases the pianist’s strong compositional ability. The James Taylor tune, “Native Son’ is the only cover tune played by the quartet and done very lyrically. “Miramar”, a Joe Locke original, partially utilizes the Lydian sound (descending note sequence D,G, F# E over Cmaj7 for example) to give it a unique coloration. It features a vibes solo which soars over the accompaniment of a solid rhythm section. Geoffrey Keezer’s “Tulipa” incorporates a shuffle “two” feel and offers a nice contrast to the preceding material with a unison “tone row” bass line underpinning the initial theme. “The King” is an up tempo Joe Locke tune which really puts an exclamation point on the CD. One thing I like to hear is a group playing a fast tempo as if it were effortless. That is the case here; the melodic phrasing is at times sparse, at times profuse, and flawlessly inventive. Joe Locke has been around the jazz scene for many years now, and has demonstrated that he is as comfortable playing standards as he is doing more contemporary material. He has performed with many of the greats such as Dizzy Gillespie, Pepper Adams, Grover Washington Jr., Kenny Barron, Dianne Reeves, Eddie Daniels, and Ron Carter. To date Joe has recorded 20 CDs as a leader. He is a self-taught improviser, which is the time-honored old-fashioned way of learning a difficult craft. Geoffrey Keezer is a dynamic, technically adept jazz pianist who fits like a glove in this context. His propensity towards pentatonics is evident throughout his improvisations; his lines deftly skirt in and out of tonality. He began studying piano at age three and never looked back. After a one year stint at Berklee, he received offers from Miles and Art Blakey. He chose AB and his career was off and running at age 18. Mike Pope is a master of both acoustic and electric bass, and Terreon Gully is an incredible drummer and percussionist; these two guys absolutely smoke on “The King”. That last track has some of the tightest small group playing on the CD – talk about rehearsal and execution. The cadenza is particularly impressive. The vibes/piano sound is one that has progressed from the Milt Jackson laid-back classical jazz style to the more updated ones of Gary Burton and Bobby Hutcherson, and now that of Joe Locke. I remember when Milt was the new kid on the block with the likes of Red Norvo, Terry Gibbs, and some other brilliant contenders. When I listen to Joe, I hear echoes of the past players, but above all I hear a strong, innovative voice, and one that sings out on this first rate CD. John Ferrara |
