Heroes Personnel: piano, Bruce Forman: guitar, Dan Lutz: bass Tracks: 1. Killer Joe 2. Cotton Tail 3. I Was Doing All Right 4. Nuages 5. Night Train 6. I’m Smiling Again 7. Midnight Sun 8. Moten Swing 9. 52nd Street Theme 10. Hymn To Freedom

Roger Kellaway

One of Roger Kellaway’s influences is Oscar Peterson. This CD is built upon, and dedicated to the magnificent Peterson guitar trios, including the great Herb Ellis and Ray Brown. And speaking of magnificent, this CD is all of that as well. Roger is a consummate pianist with all of the tools of the trade built into his playing: stride, bebop, great voicings, exquisite technique, four way close/doubled lead voicings in the Petersen tradition, inventive lines, with an unabashed dedication to out and out hard swinging.

Ease into “Killer Joe” and see what I mean. The trio has a tight chamber jazz sound. The use of guitar rather than drums requires adjustments to a pianist’s playing to accommodate the differences in voicings that can occur with piano and guitar. Roger and Bruce Forman work together as if they have played for years with one another – effortlessly and with no conflicts in the harmonic structures. This, coupled with the quality of Dan Lutz’ first class bass playing yields a group that echoes the Peterson trio of old. Peterson once made a remark to a reviewer that he loved the way Roger Kellaway played; and that is quite an endorsement.

The venerable “Cottontail”, Bb “rhythm” changes, has the pianist and guitarist unison on the A section with Roger playing the melody in the depths of instrument – simple and beautifully effective. Listen here to Mr. Forman’s great solo on the first chorus. His playing swings big time and his solo has such a nice shape; it covers the breadth of the fingerboard. On Roger’s chorus, his playing unmistakably reminds one of Oscar, but it has the essential Kellaway sound. I have seen Roger several times in person and he has his own sound, but here in this context I hear the persona of King Oscar peeking through the veil of some great eighth notes. Later in the chorus, the block chord technique is displayed by Roger – very few players around today know what this is or how to perform it. The bass drops out and then the listener is treated to a duet between Roger and Bruce, and then the recapitulation with bass joining in.

The art of stride playing is one that is pretty much lost, but not when you listen to Mr. Kellaway. Gershwin’s “I Was Doing All Right” in Eb is rendered in flowing and flawless stride by the pianist along with the guitarist complementing the lines. Bass merges on the bridge. I love the blowing chorus. It is such a refreshing sound to hear traditional jazz played so beautifully; here and on the entire CD. “Nuages” is offered as a pensive ballad featuring Mr. Forman stating the melody over the supportive piano and bass – this really takes me back and truly reminds me of the years I listened to Oscar (I still do – kind of like breathing – you really should never stop). One of Oscar’s trademark tunes, “Night Train” from the album of the same title with Ray Brown and drummer Ed Thigpen, is rendered in unique fashion by the trio with the group stating the melody and Roger performing solo via stride. Listen to his “out of key” ramblings and rhythmic displacements which are brilliant – then enter the bass and guitar with Mr. Forman playing all the while like Wes Montgomery and Tal Farlow and Barney Kessel and Herb Ellis all in one. He is quite an extraordinary talent and so perfect for Roger’s style. Dan Lutz takes a Ray Brownish solo in keeping with the flavor of the old trio.

“I’m Smiling Again”, a Roger Kellaway tune, features the bassist initially performing the melody over a Freddy Green and Basie foundation, then trading improvisation with Mr. Kellaway – quite nice. The classic “Midnight Sun” is cleverly arranged with a 6/4 metric feel and has the group sounding quite elegant and low key. “Moten Swing” by Benny Moten is another one I remember from the Oscar Peterson “Night Train” album (well yes I have the album and NOT the CD – I left it on a radiator when I was quite young and warped it but it still swings!). Roger and company swing like they were meant to perform this material. Listen to the expansive Bruce Forman here – so much talent for a young man. “52nd Street Theme” is played very up -- about as fast as the Peterson version. What chops these guys exhibit. Roger sounds so much like Oscar with eighth notes sounding firm and secure and bursting with energy. The trio ensemble portions are tight and lithe. Mr. Forman dives into his solo with unfettered abandon.

The last track “Hymn to Freedom”, by Oscar Peterson, features Roger playing soulfully in a rubato initial statement of the melody – kind of a mix between Peterson with some Debussy thrown in. He moves into tempo for an extended stride solo – Klassic Kellaway (hey – that description kind of has a nice ring for another CD Roger!). Guitar and bass enter for the closing.

If you are a fan of Kellaway like I am, you must buy this CD. He is a hell of a musician. He has played with many, many great musicians and performers in his star studded past. He was Bobby Darin’s musical arranger, pianist, and conductor in the late 1960s. No wonder Bobby chose Roger – he is a musician’s musician and is really deserving of a lot more recognition. I met Roger about ten years ago when I sat in at a club he was appearing at in NYC – he was very complimentary to me afterwards and I never forgot that magnanimous gesture. So many musicians are quite insecure about themselves, but Roger is cognizant of where he has been musically, and where he is going, and I admire someone like that -- and he is not afraid to swing.

John Ferrara
January 2007