What's New on WDCB... with Paul Abella

Emmet Cohen – Universal Truth (Mack Avenue)

Around the offices at WDCB, we sometimes talk about “no-brainer” records…that is, records that are so solid that anyone could justify playing them on the radio. Enter pianist Emmet Cohen, and his latest record, Universal Truth. There are a few groups built off the base of Cohen and drummer Joe Farnsworth. Elsewhere on the record are bassists Yasushi Nakamura and the legendary Ron Carter (who plays on three tracks), trumpeter Jeremy Pelt and tenor saxophonist Tivon Pennicott (who both appear on about 2/3 of the album) and a couple of guest spots by elder statesman saxophonist George Coleman. The album, I suppose, could be separated into two chunks: the five standards that bookend the album and the three-part “Universal Truth” suite that sits in the middle of it. Let’s talk about those Jazz standards first. Bud Powell’s “Budo” kicks off the sessions with zesty aplomb by the trio of Cohen, Nakamura and Farnsworth. Pelt and Carter tag in for Thelonious Monk’s “Well You Needn’t,” taken at a pace that could replace your morning coffee. “My Funny Valentine” brings George Coleman into the fold for a lovely performance of a timeless ballad. Jimmy Heath’s “Gingerbread Boy” gets an arrangement unlike any that I’ve ever heard before, and, I might add, one that works. Closing out the album is John Coltrane’s “Blue Train.” Here, all three horns, Pelt, Pennicott and Coleman are present. Coleman’s tone right out of the gate is unmistakable, and everyone sounds great here. The three-part Universal Truth Suite, “Eternal Glimpse,” “Compassion” and “Universal Truth” features the same quintet throughout, with Nakamura on bass, Pelt on trumpet and Pennicott on tenor saxophone. These three pieces function nicely on their own and as a multi-part suite. I hope someone decides to dedicate 17 minutes to sharing the whole thing with you, because it’s a worthwhile listening experience. And the same could be said for the whole of the Universal Truth album. Which is, like, the definition of a “no-brainer” album.

Virginia MacDonald – In Search Of… (Cellar Music)

The most shocking thing about Virginia MacDonald’s album In Search of… is that it’s her debut album. No way did someone sound this mature on their first album. No way did someone get pianist Geoff Keezer or bassist Ira Coleman to play on their debut record (Curtis Nowosad plays some excellent drums throughout, too). But, here we are. MacDonald’s technique is immense, her concept is impressive, her writing is great, and her choice in other folks’ music is spot-on, too. Hoagy Carmichael’s “Stardust” gets played as a clarinet/bass duet between MacDonald and Coleman that is gorgeous. “Retrogression” is a tour de force that proves that Joe Segal was always right: BeBop is the music of the future.  “Hope” and “Eternal Return of the Same” are more modern in their approach, and MacDonald excels among some fast company on both of these excellent compositions. “Last Call at Dmitri’s” and “Up High, Down Low” both benefit from the addition of vocalist Laura Anglade using her voice as a second horn. It’s an interesting effect, and I like it. The other classic here, Charles Mingus’ “Duke Ellington’s Sound of Love,” is also a duet, this time with Keezer on the piano, and both Keezer and MacDonald have a lot to say on this one. In Search Of… is a fascinating debut, and I hope an exciting example of what’s to come.

Will Lyle – The All-Seeing Eye (self-produced)

Bassist Will Lyle sure assembled a monster of a band for his album The All-Seeing Eye. With saxophonist Lucas Pino, pianist David Kikoski, and drummer Billy Drummond, there are no weak links here. The first track, “Eridania,” fades into being, as if you’re joining in on the action, already in progress. Lyle, Drummond and Kikoski are cooking, Pino is blowing forceful lines, and all together, it’s something to behold. This track, and the next one, “Lineas de Sangre,” were both written by college friends of Lyle’s. Suffice it to say, Will Lyle has cool friends. There are three standards on the album, and they all get very reverential readings. “Autumn Nocturne,” “All of You” and “On a Clear Day” (which features a vocalist named Sirintip, who does a fantastic job) are all quite pleasurable listens. That leaves Lyle’s two originals, “Deep Fake,” Which is written over the chord changes to Jerome Kern’s “Make Believe,” swings swiftly, and sounds like it was a joy to play. “Saturn Return” is a bit mellower, but still buoyant. The All Seeing Eye is a winner, with a great mix of standards and modern compositions that has a little something for everyone.