Larry Goldings’ organ playing is wonderful here, as is the playing of Mintzer and Erskine. Three world class jazz players playing music deeply rooted in the jazz and blues tradition can’t go wrong – and they don’t.
The “medium up” opening track Somewhere Up There quickly disperses of the melody and into Bob Mintzer’s angular, yet melodic lines. The relative calm of the melody is offset by a slightly more aggressive swing in Mintzer’s solo and perfect accompaniment from Erskine and Goldings. Both organ and drums swing hard throughout, a true pleasure for the casual listener or serious musician alike.
Bebop Special is appropriately a very brisk tempo bop tune this time featuring Mintzer on bass clarinet and flute. His bass clarinet playing is crisp, clean and swings! Goldings solos after Mintzer and the intensity continues all the way to Mintzer’s final glissando.
The funky Latin Pap Lips offers a contrast to the first two straight ahead tunes. Tenor and flute state the melody penned many years ago for Mintzer’s own big band. The popular big band tune works well in the smaller setting and the outstanding groove provided by Erskine and Goldings is refreshing.
“The tune Bugaloo to You is a tribute to the R and B based music that many of the famous organ trios touched upon in their repertoire.” Mintzer’s tenor is funky but his sound always full and never thinned out. Golding’s punctuated solo supported by Erskine’s syncopation grooves hard however is never “in your face” as some funk recordings can be. Mintzer’s sometimes fierce solo also shows restraint where things can sometimes get out of hand. The dynamics demonstrated by the ensemble keep things musical and funky at the same time.
Thaddeus, written for Thad Jones who Mintzer played with briefly, offers a relaxed yet bouncy spotlight for Mintzer’s tenor and flute. The tenor solo takes off following the melody pushing and pulling against the time as Bob Mintzer can so aptly perform. His lines are very traditional, borrowing from his great sense of the bebop lineage. He only hints at more modern sounds between some very sweet clichés. Larry Goldings also plays it cool here with the cherry on top coming in the final tenor and flute chorus.
All songs on Canyon Cove are Bob Mintzer original compositions with the exception of When I Fall in Love. Hearing this well worn standard so deftly demonstrated by the ensemble is a real treat for this listener. The group remains true to the original harmonies and only occasionally strays into less charted harmonic territory. It seems a perfect match of tradition and experimentation.
There are three improvised tracks sharing space on Canyon Cove. Each of the three “free” tracks add Judd Miller on EWI to the ensemble. Improv #1, #2 and #3 all display the same impressive abilities of the ensemble, albeit in a much more experimental setting without many set boundaries. The time remains constant whether funky or swinging. Being a saxophonist myself, I have always found this type of music to be much more fun to play than to listen. Many others will likely find these three tracks compelling and engaging. The interplay between bass clarinet and Judd Miller’s EWI is particularly noteworthy on Improv #1.
More in keeping with the remainder of the Canyon Cove, Road Well Traveled showcases the trio’s ability to once again swing hard. The otherwise mundane and “well traveled” Bb rhythm changes receive a familiar and yet fresh treatment from Mintzer’s bass clarinet and Golding’s B3. This may be a familiar path however the pair share some charming “fours” with Peter Erskine following the solo section.
The 9th cut on Canyon Cove is the unassuming Truth. The pensive and yet playful composition is a suitable vehicle for Bob Mintzer’s post-Trane, post-bop style of New York tenor saxophone playing. The unaccompanied saxophone introduces the melody and finishes with a fitting cadenza in the final bars.
One of the more jovial compositions is Mr. Fonebone. The Latin/swing motion is a familiar sound with a bit of a funky twist with the unison ensemble coming in a couple minutes into the track. The same funk sections reappears throughout as a counterpoint to the otherwise flowing swing.
According to the liner notes, the song “Canyon Cove is a dedication to the rock band Emerson Lake and Palmer…” Having heard the track a couple times before reading the liner notes, this explanation helps one better understand the premise for this seemingly odd rock groove among more traditional jazz fare.
The tradition, diversity and experimentation displayed on Canyon Cove by Bob Mintzer, Larry Goldings, Peter Erskine and Judd Miller offers something for all jazz enthusiasts and saxophonists alike. The music itself as well as the liner notes reflect the long and varied career Bob Mintzer has enjoyed. Although titles and categories can be difficult, it is safe to say that this is a recording is full of music Bob Mintzer has enjoyed writing, performing and recording. What could be better?
You can find out more about Bob Mintzer and purchase this recording ONLY from BobMintzer.com
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