90.3 WCPN ideastream®: The Criss Cross Crew

The Criss Cross Crew

Wednesday, August 12, 2009
Topics: Arts
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It’s always a pleasure to receive the last batch of discs from Gerry Teekens’ Criss Cross label. Based in Holland, Teekens has done a wonderful job over the years finding talented young musicians and documenting their work in a no-nonsense way.  The latest batch of discs is no exception.

This new set of recordings includes two guitarists. Joe Cohn is the elder of the two. The son of tenor saxophone great Al Cohn, he reflects his father’s love of straight ahead swing and a great love of the kind of counterpoint that Al engaged in with fellow tenor saxophonist Zoot Sims. 

While, he’s co-led several dates with tenor saxophonist Harry Allen, this new recording Shared Contemplations is only Joe’s third session under his own name.  Cohn is joined by the Dutch pianist Peter Beets throughout the recording, and two different sets of bass players and drummers alternate in the rhythm section.  Throughout the date, whether he’s swinging up-tempo on “Just One of Those Things,” hitting the mainstream groove of “You Turned the Tables on Me,” or a cool swinging lope on Gary McFarland’s underplayed “Blue Serge,” you are struck by Cohn’s tone which conjures up a Kenny Burrell like warmth.  Cohn also knows how to cut to the chase. There aren’t a lot of wasted notes from the guitarist and his band mates.  If you like it no-frills, Shared Contemplations is worth considering.

While Cohn’s approach to the guitar would be considered more of a traditional one, Adam Rogers distinct playing is more grounded in the John Scofield school.  Make no mistake, Rogers is his own man, as is reflected on his fifth Criss Cross date Sight. A trio session with frequent collaborators bass player John Pattitucci and drummer Clarence Penn, Rogers hits a nice balance between his own spacious pieces and standards like “I Hear a Rhapsody,” as well as great jazz lines including Charlie Parker“ Dexterity .” Among the more interesting tracks is an ever shifting take on the Jerome Kern’s “Yesterdays,” which invigorates the standard. Rogers perfectly captured Woody Shaw’s “The Moontrane” by paying attention to the piece’s engaging melody not only when stating it but throughout his solo, as you hear echoes of the theme throughout his statement.

Drummer Kendrick Scott provides the motion that swings the band on his first Criss Cross date Reverence.  Having just come off the road following a three month tour with Herbie Hancock, the 28 year old Scott headed into the studio with his old classmates from Houston’s High School for the Performing Arts saxophonist Walter Smith and guitarist Mike Moreno, along with his rhythm section mate from the Terence Blanchard group bass player Derrick Hodge and young pianist Gerald Clayton. 

Scott decided to focus his attention on some classic jazz tunes but with his own stamp on each. On Wayne Shorter’s “Ana Maria” the paces quickens and its tempo shifts to 5/4 giving the piece a swinging, yet spacey feel.  Also getting a time shift, is Kenny Dorham’s “Short Story” which moves into a tricky 15/8 groove and has burning solos from Smith as well as Moreno, whose sound at times can evoke Pat Metheny but with a bit more of an edge

Inspired by drummer Tony Williams playing on the Miles Davis date Miles Smiles, Hayes selected a tune from that session “Gingerbread Boy” to play.  Like the great quintet the trumpeter led that featured Williams in the mid 60s, the piece is all about the interchange between the five musicians with soloists and accompanists blending into a whole. A similar group improvisation feel comes on Hancock’s “Speak Like A Child” where much of the melody is omitted for a more open reading of the piece. 

Among the ballads is a nice reading of Duke Pearson’s “You Know I Care” where Scott brings out the brushes and makes room for a very tuneful solo by Hodge who captures the melody beautifully in his statement.  Scott who grew up listening to Criss Cross dates included a piece he learned in high school that guitarist Peter Bernstein wrote and recorded for the label: “Metamorphosis.” It is easy to hear the appeal of the tune, it has the clean hard bop feel for which Criss Cross has become known, it’s both swinging and relaxed.

Like Scott, saxophonist Marcus Strickland is making his Criss Cross debut with his date Of Song.  Strickland, who is nearing his 30th birthday, has already put in time as sideman with drummer Roy Haynes, as well trumpeters Dave Douglas and Tom Harrell. 

On the nine song program that makes up Of Song, Strickland includes just one of his own pieces, opting instead to reflect his interest in a wide variety of music through an eclectic selection of tunes.  Everyone from James Brown to Bob Marley to Bruce Hornsby is represented.

Of Song is dominated by ballad to medium to tempo tunes, but we aren’t subjected from the overabundance of rubato pieces.  Even when Strickland and his band mates play slowly, there is still a feeling of forward momentum.  That is evident in a gorgeous reading of Jacques Brel’s “Ne Me Quitte Pas.” Drummer E.J. Strickland, the saxophonist’s brother, puts a quiet but strong hip-hop like groove under his brother’s well-phrased solo. 

The quartet’s maturity is evident as they take Wayne Shorter’s “Pinocchio” at an almost glacial pace, even slower that the original recording, allowing the piece’s natural beauty to unfold. No one feels the need to rush.

One of the tenor player’s strengths is that he doesn’t feel the need to fill every space.  He allows his music to breathe, as we hear on the standard “What’s New.” Strickland takes his time as he builds a moving statement.  Equally compelling is the carefully selected notes played by bass player Ben Williams underneath Marcus. That kind of sensitive bass playing is one of the joys of jazz.  Williams absolutely steals the show with his arco solo on “It’s A Man’s World,” reminding us that the bowed bass doesn’t always need to sound like classical sawing-Williams keeps it soulful.

For Form, his third Criss Cross session as a leader, pianist Danny Grissett has added the horns of tenor saxophonist Seamus Blake, trombonist Steve Davis and trumpeter Ambrose Akinmusire to his regular rhythm section mates from his previous two recordings for the label, bass player Vicente Archer and drummer Kendrick Scott. The addition of the three new players allows Scott to further explore his writing and arranging skills, which reflect the influence of Herbie Hancock, in particular from his Speak Like a Child period.  It’s apparent in the pastels of Scott’s tricky yet cool tune “Heard’s Word,” as well as the waltz “Without You.”

Like the Strickland date, no one is in a rush on the Grissett session to overwhelm you with their chops.  Not that the players don’t have them.  The only standard on the date “Let’s Face the Music and Dance,” catches Blake building to a big crescendo The control and tone that trombonist Davis displays on Grissett’s “Distant” is a model for tasteful, moving trombone playing.

Horns stroll on Monk’s only waltz “Ugly Beauty,” letting the rhythm section do their thing which is a perfectly played version, finding the tune’s lyrical beauty.  Again, no overplaying is the key to their success.

While U.S. record labels have abandoned jazz, it’s nice to know that we can count on Criss Cross to document the new generation of players.  We’re looking forward to their next batch of recordings.