Paris Jazz Corner

KR 2004/05 (réf. KRQ)

Avec la participation de :
Katy Roberts (piano), John Betsch (drums), Wayne Dockery (bass), Rasul Siddik (trumpet), Salim Washington (saxophone)

CD, stereo, neuf, 11.00 €
[12.98 US$, 1,426.70 ¥]

Indenpendant production
État du disque : S
 État de la pochette : S

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This is a new disc from hard driving pianist Katy Roberts. Recorded over a period of three years and sporting three different rhythm sections, the recording is a mix of mostly classic Hard-Bop-and-beyond compositions by McCoy, Mingus, Trane, et al.
The pieces are well chosen and showcase the talents and abilities of all concerned.
'Seventh Avenue', a Hard Bopper up-tempo excursion, begins with the solid tenor of Salim Washington.
He has a hard edge that seems a little Hendersonesque, a little Dexterish in tone; Rasul Siddik's trumpet follows with his take on a Hard Bop sound, with perhaps a little Woody Shaw in there.
There is a nice McCoy bluesyness to all. Katy takes a solo in that vein, sounding good, bluesy, hard-hitting. The cut ends with a short but effective Betsch solo on top of the song's horn motif.
Salim's Jazz waltz 'Blossom' gets a lyrical performance with flute and muted horn. It has a little of that classic Dolphy at the Five Spot sound. Salim's flute has an attractively bright tone; Katy's solo comes off as loose and spirited, with the left hand squarely in the Tyner mode.
Joe Bonner's 'Love Dance' in six with an African post Trane straight eight feel, features a lively John Betsch and an inventive trumpet solo by Rasul. The latter seems especially sure of his upper range on this one and makes most phrases jump out at you with some drive.
Roberts' own 'Photonality' has spirit, fire and notable tenor and trumpet solos. Ms. Roberts should write more; this is an attractive tune that reminds one of the vehicles Lee Morgan worked in the classic late group with Bennie Maupin. Katy’s solo on Mingus’ 'Self Portrait in Three Colors' is one of her strongest, showing a ballad style that is a little different than her more uptempo strategies. She seems to be striving toward virtual horn-like lines in her right hand and the results are inventive.
The mid-tempo Elvin-like groove 'Jean Marie' shows Roberts' fleet right hand and some definitely smoking lines. Roberts' CD as a whole has that certain buoyancy and lift that a good live recording should have.

If you are a fan of advanced Hard Bop that burns off to the edge of the mainstream with a good selection of blowing vehicles, you will like this one. I look forward to her next CD.
--Grego Applegate Edwards
CADENCE MAGAZINE, Febuary 2007