Brent Canter: Urgency Of Now

Brent Canter (guitar)

Urgency Of Now (Posi-Tone Records; 2011)

Seamus Blake (sax)

Adam Klipple (organ)

Pat Bianchi (organ)

Jordan Perlson (drums)

I really have gained a deeper appreciation this year for the guitarist. In recent months I have continually stumbled onto guitars who are either constructing something new through the instrument. Or creating a whole new vibe through their compositions.


These artists are also not making themselves the story of their sessions. It's the group and the tunes that's important. Not the histrionics of how well the artist has learned form their studies or history. Now with another guitarist spending time in my CD player, I am again blown away...everyone, meet Brent Canter and his stellar new album, Urgency Of Now (Posi-Tone Records)

The L.A. native has studied under Kenny Burrell but what he has learned is to tell the story gently, through the eyes of the composition and the instruments will follow. And while his mentor is felt throughout Urgency Of Now, "Meet Me Halfway" for me had elements of both the adventurous-ness of Pat Metheny and astral folk of Ralph Towner. There is a bold yet quiet sense of optimism in Canter's playing that softly invites the listener in and then the rest of quartet join in, painting the perfect picture.


The organ work by both Kipple and Bianchi (on selected tracks) is understated and Canter's compositions don't allow the instrument to overtake the groups overall mission on each track. "Meet Me Halfway" is lovely in tone and the group are rise to the challenge as the piece moves forward. Changing tempos from bluesy-soul to midtempo ethereal harmonics thanks to Bianchi on this number. Great stuff.

"With Eyes Closed" raises the game and attitued of group. It's a fierce, jagged little groove that allows the musicians to stretch and improvise a little bit. Seamus Blake and Adam Klipple sounds terrific and full of life throughout. It puts a smile on your face and a nice two step in your shoes. Canter is a bit more reserved here filling in the patterns just underneath the dynamics of the group until midway through in which he display a great deal of soaring chords that show he's  learned a lot not just from Burrell but probably the music of John McLaughlin as well.

The title track closes out the session with group turning the spotlight on its leader. Here you get the full understanding of Canter as a craftsman. The playing is solid, tight and full of emotion. Bianchi and Perlson have a few great moments but they both pull back for leader to shine when needed. "Urgency Of Now" is the obvious highpoint of the record but it is also tells everyone this artist is for real.

Urgency Of Now is only Brent Canter's second album but it is one that come with quality and craftsmanship. It's been a year of some wonderfully talented guitar albums, but Canter is making a case that we need to pay attention to all of them on various different levels. They are not all the same. They so far have been quite refreshing and eye opening. Urgency Of Now delivers a midpoint opening that fans across all stages of music will hopefully gravitate to this year.

Stephane Belmondo: The Same As It Never Was Before

Stephane Belmondo (trumpet)

The Same As It Never Was Before
(Sunnyside; 2011/Verve France; 2011)
Kirk Lightsey (piano)

Billy Hart (drums)

Sylvain Romano (bass)

Stephane Belmondo's ninth album (either as leader or within a duo), The Same As It Never Was Before, is somewhat a departure, a new chapter and a refreshing return to form for the veteran trumpeter.

His previous efforts have carried him through orchestral settings, contemporary jazz modes, world and soul-jazz infusions (his debut was a magnificent Stevie Wonder tribute). This has allowed him to work with a host of global musicians, including Sylvian Luc, Dee Dee Bridgewater, Yusef Lateef and Milton Nascimento. But now he has settled into a straight ahead and beautifully relaxed mode with this quartet release that should have a wider set of jazz fans taking notice.

All of these experiences, interactions and inspirations of other fellow great musicians is reflected throughout The Same As It Never Was Before. And circling himself around a few well seasoned talents has challenged Belmondo and made this outing a delight to experience. Only Sylvian Romano had worked with Belmondo up to this point.

The soulful bliss of Stevie Wonder is revisited on "You And I" which I almost didn't recognize. It's keeps the core essence of the original but Belmondo's arrangements and quartet's performance gives it a sultry and romantic feel that you immediate fall in wonder with the tune and want to hear again before you move forward with the rest of the session. "Light Upon Rita" opens with a lovely set of chords from Romano and sets a haunting yet investigative approach for the piece. Soon Lightsey, Hart and Belmondo join in and the tune becomes a fiery yet still emotionally structured movement. There are shadows of Woody Shaw, Donald Byrd and the more contemporary Roy Hargrove that emerge in Belmondo's work, and "Light Upon Rita" displays that with strength and beauty.

"Godspeed" is reminiscent of Belmondo's more world-music related work. It's brief (just over 2 minutes), but shows the diversity in Belmondo's writing and how it all fits perfectly on this release. Utilizing his trumpet as well as flute and shells, he crafts a small yet effective interlude (Jon Hassell and Stephan Micus would be proud). "Haunted By Now" is a ballad in which the group is in perfect unity. Lightsey and Belmondo's exchanges together are really heartfelt and feel like they had been kindred spirits.

The Same As It Never Was Before is a monumental piece and an adventurous journey through many ideas Belmondo has worked on in the past. But with this new quartet he has reshaped those ideas into something that surely is the perfect primer for those of you who have yet to experience his music. Well worth seeking out for even the newest of jazz fans.

Curtis Fuller: The Story Of Cathy & Me

Curtis Fuller (trombone)

The Story Of Cathy & Me (Challenge Records; 2011)

The last few years have been filled with adversity for the great trombonist, Curtis Fuller. But, he has poured that pressure into an exhilarating mixture of music inspired by love, honour and devotion. The main source of that inspiration has been his beloved wife, Cathy, who passed away a few years ago. 

As with I Will Tell Her (Capri; 2010), his latest,  The Story Of Cathy & Me (Challenge Records) is devoted to the life of his esteemed spouse. It's a story carried out over three phases of their life together. How they met. Their life together and with children. And finally how his life has been affected without her.

The personality and journey of both these devoted lovers is announced and carried through over the course of the next hour by both the delicate compositions as well as four interludes in which Fuller describes particular events and emotions of their relationship. The opening, "Little Dreams" seems appropriate, with light yet playful melody accentuated by Nick Rosen on piano and Lester Walker's trumpet. But the drive and most effective force is of course Fuller, who adds some juicy and very characteristic passages midway through. "I Asked And She Said Yes" with a Latin tinge is bouncy but pulls into a hard bop vibe with some strong punches from Fuller and Lester Walker on trumpet.

The journey continues on "Look What I Got" a midtempo piece with another slightly Latin feel thanks to Akeem Marable on percussion. But that's only a light touch. It's the performance by the entire ensemble that really transforms this piece into something more than just a midtempo love theme. There are some solid and touching notes delivered by the horn section along with Fuller's direction and ability to make the trumpet feel like multiple instruments at once. That's not say the work of Daniel Bauerkemper (sax) and Lester Walker goes unnoticed. By contrast, its an added element brings out the best in their leader.

"Spring Will Be A Little Late This Year" closes out the album on the music standpoint. It's a somber piece mainly led by the effective keys of Kenny Banks Jr. with Fuller, and the horns and texture just underneath. Brandy Brewer injects some beautiful notes on bass making this an even more tearful conclusion to the journey of Curtis and Cathy. "Spring Will Be A Little Late This Year" is a still picture with passionate lyrics from Fuller and a lovely way to say so long for now.

The Story Of Cathy & Me is simply an excellent testament to marriage, life and journey of two lovers. But it is also a beautiful document of one's continuing struggle to fight through adversity and loss. It still brings out the best of one of the remaining living giants of jazz. Excellent stuff and highly recommended.

New York Standards Quartet

New York Standards Quartet (group)

Unstandard (Challenge Records; 2011)

David Berkman (piano)

Yosuke Inoue (bass)

Gene Jackson (drums)

Tim Armacost (sax, flute)

Formed from the idea of bringing a different spin to traditional standards, the New York Standards Quartet is quietly making an impact throughout various circles of the jazz community. 


The group consists of veteran leaders; David Berkman who's growing discography continues to be inspiring and garnering considerable praise for his compositions. He has recorded, toured and composed with the likes of Joe Lovano, Brian Blade and Dave Douglas. Yosuke Inoue, who has worked with Cyrus Chestnut and Lee Konitz among others. Tim Armacost, who's worked with both Bruce Barth & Kenny Barron on a number of occasions. And finally, Gene Jackson with whom you can hear some killer work on albums by Monday Michiru, J.D. Allen and even Dave Holland.

The group's first recording was a live set recorded in Japan in 2006 (NYSQ Live In Tokyo released in 2009). On their latest endeavor, Unstandard (Challenge Records) NYSQ have spun the tunes forward giving them a bit of adventure in the compositional structure. The classic "How High The Moon" starts in a traditional fashion and melody, but soon Berkman and Armacost take the tune on a nice but gentle left turn adding more romantic notes and some nice touches of improvising on Berkman's part. It's a great way for the group and the listener to be introduced.

Later on "But Beautiful", a Jimmy Van Heusen standard (later really solidified by Betty Carter late in her life), Berkman exemplifies the reason why he is one of the growing set of pianists that will be known over the next 20 years. His movements of slow and steady pace the quartet perfectly. Armacost switches to flute which adds a deep sensual atmosphere to the piece.


"Lunar," one of the few longer originals here written by Berkman, is a moment for the group to really bounce with a fervent staccato. They are having a lot of fun throughout this piece. Inoue really shines with a great set of passages on bass. Berkman's writing here has also allowed room for Gene Jackson to cut some serious and pulsating sounds on the drums. The group are really smokin' on "Lunar" and it happens at the right time while listening to the sessions as a whole.

Moving out of "Lunar" you get Bill Evan's wonderful "Interplay" which has a bit more full body to it as a result of relying on Armacost in place of Freddie Hubbard (trumpet on the original). They keep the feel and shape of original but expand inside the rhythm with Inoue and Jackson adding a solid tone on notes around the buoyancy and intricacies of Berkman's notes. The tune feels more like a jumping romantic theme to an early 60's film and leaves the listener with a pleasant vibe.

With Unstandard, The New York Standards Quartet have delivered a well focused document that expands on the main elements of the "standard" in a fun and entertaining manner all the while maintaining a sense kinship with the original. It's a wonderful group playing a straight ahead songbook that the general music fan can easily gravitate to with no fear. The melodies are familiar, the improvised moments are light and few. The listener gets an education by a senior class of players. The jazz community gets another stellar record to talk about for the rest of the year. Highly Recommended.