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| David Binney – Aliso **** |
| Monday, 31 May 2010 10:11 | |||||||
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David Binney (as), Wayne Krantz (g), Jacob Sacks, John Escreet (p), Eivund Opsvik (b) and Dan Weiss (d). Rec. 2009 It’s always struck me as slightly strange that, as Jazzwise’s veteran hard bopper, this writer should have such a f f soft spot for a musician who is bestknown for his basically underground, alternative approaches to conventional jazz, despite being dismissed by Lou Donaldson in a recent blindfold test as being unable to play the saxophone! Binney’s records have featured in my last three years’ “Best Of” lists and this latest Criss Cross could end up there, too. It’s an unusually energetic – occasionally brash – record, possibly because everyone concerned had only returned from virtual non-stop touring in completely different bands, playing with totally different musicians, the night before the date and you can feel the pent-up adrenaline working throughout. It’s probably Binney’s most up-front, hard swinging record to date – possibly too much so for some of his fans. Five of the tunes are from the 60s, including Coltrane’s ‘Africa’ and, surprisingly, three from key Blue Note records – Wayne Shorter’s ‘Toy Tune’ (from Etcetera) and ‘Teru’ (from Adam’s Apple) plus tenorist Sam Rivers’ ‘Fuschia Swing Song’. There’s also Monk’s 1953 tune, ‘Work’. Both pianists make strongly two-handed contributions, with Jason Moran a linking influence, while Krantz, a longtime friend and associate, brings rockhardened guitar comping and solos to the table, backed by invincible Opsvik bass and Dan Weiss’ hard-hitting, heavily broken-up drumming. A very back-to-basics New York record and a further feather in Binney’s cap. Tony Hall
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