Bop Viveur CD

RATING: **** (four stars)

"By naming their jointly-founded label as they did, Roberts and the Fishwick brothers made clear their creative intentions and haven’t deviated since. Good for them and good, specifically, for Roberts whose debut ‘name’ album this is.

Past notices have referred to his early Rollins sound and viewpoint and there’s nothing here to suggest any other inclination. What he has added is greater assurance, and a desire to build complex ideas and the confidence to accomplish them. In short, he has the hard bop tenor style sorted, this a calling card to savour. He has also picked well-crafted but lesser-known originals by composers he admires, plus a couple of standards to work on. All that and rhythm section players who think as he does.

Roberts relishes tackling pieces with complex shapes, as with ‘Zec’ by Thad Jones, taking its jagged outline at speed, and laying idea upon idea as he improvises, Barron equally nimble in solo. Tadd Dameron’s ‘Theme of No Repeat’ is handled more calmly, Roberts threading his way through its slightly arcane structure with Barron excelling in a fast-moving solo, the swing groove just right. ‘Time Waits’ by Bud Powell, is pensive as if in tribute to a past master, Brown poised as he is throughout.

Barry Harris’ ‘Seein’ Red’ is pure bebop, the tenor trenchant and to the point, Barron’s solo like a master class, literate and crowded with twists and turns. More good things come with Shirley Scott’s ‘Big George,’ Roberts quick on the draw, and ‘I’ll Remember April,’ taken slow, tone and tempo throttled down. Brown and Fishwick solo capably and support superbly. Fishwick says that Roberts is underrated and deserves wider recognition. This should do the trick."

- Peter Vacher Jazzwise Magazine

 

LANCE LIDDLE, BEBOP SPOKEN HERE:

The album title and the record label give the game away. It does everything it says on tin and more - much more.

 

Thad Jones' Zec sets off at a rollicking tempo and doesn't falter. The sound of Rollins, the drive of Dexter and the speed of Johnny Griffin heading for the bar across the street all surface during this first track. I love the quote that Roberts rounds  his solo off with and which Barron picks up at the start of his. It will keep me awake until I put a title to it!

 

There's a nice relaxed feel to Tadd Dameron's Theme of no Repeat. Barron again follows Roberts - a nice laid back solo with bass and drums discreetly, yet effectively in the mix.

 

A ballad by Bud Powell, Time Waits, is a thing of beauty. No other word could describe it. A luscious tenor solo, rich harmonies from the piano, bass solo catching the mood and Fishwick's gentle brushwork all add to a track that exudes more romantic feelings than a Sinatra ballad.  

 

Seein' Red: Few pianists could match Barry Harris on one of his own tunes. Barron is one of that select few. He builds up a swinging, extended intro to Robert's entrance that made the hairs on the back of my neck stand to attention. Brown and Fishwick take it out with a round or two of fours.

 

I'll Remember April: I certainly will remember April and this track will be one of the main reasons.

Shirley Scott penned Big George. It's fast and furious with Roberts in overdrive as he charges through the changes as if to say to his cohorts 'fasten your seatbelts' which, of course they don't need to - such is the empathy among the group. Fishwick works out, dropping a few bombs behind the bass solo.

 

Max Roach's Blues Waltz, unsurprisingly, has Fishwick soloing at length, a paint-stripper of a solo from Roberts and, as always, Barron and Brown a vital ingredient.

 

Would You Like to Take a Walk?: I flipped when I saw this track. A song I remembered with great affection from when I heard it on a 78rpm by Ella and Louis on the old Brunswick label, long before Norman Granz got his mitts on them. Originally recorded by Annette Hanshaw in 1931, it was also part of a song & dance routine by Dan Dailey and a Shirley Temple clone, Shari Robinson, in the film You're my Everything. It's a great song yet this is the first instrumental version I've heard. Made my day!

 

It wouldn't be a bop album without a Charlie Parker item and Cal Massey's Fiesta, recorded by Bird in 1951, fits the bill to perfection. Over a Latin accompaniment  that alternates with a swinging 4/4 Roberts and co. bring an exceptional album to a close. Now if I can just remember the name of that quote on track one my day will be complete. Lance