Into the Light

I like Jazz where the ensemble leader does novel interpretations of familiar classic Jazz works. (I suppose saying so is just a redundant definition.) This is a pleasant collection to listen to and it can be listened to several times over.

Meh.Dana Hall aint Art Blakey, and this isn't the Jazz Messengers.There's something going on, but there's also way too much awareness of the thing that is "jazz" for me to take this seriously.Obviously these dudes are talented, but I also think they're shackled by the past.Maybe they should be less Keith Jarrett and more Kahil El Zabar.I hear talent, but it's confined by self imposed barriers. Dana Hall should do himself a solid and embrace his inner Branford Marsalis. If anybody could have been roped in by their history, it's him. Yet he is a true artist. I'm sort of pulling for Dana Hall, but anybody that's up to speed on current jazz might find this recording somewhat frustrating. I sure as hell did.

Full disclosure: I was privileged to be at the Green Mill in Chicago on Jan 24 2009, the night before this album was cut. The quintet played all of the album and announced they were going into the studio the next day. I have just got my hands on the CD. I have met Mr. Warfield socially on several occasions and through him met Terell Stafford and Dana Hall, both of whom I hold in high esteem.That said, If you are a jazz fan and are wondering what is happening to modern bop or post-bop (I'm color-blind in that range) you owe it to yourself to get this album. This is not overwhelming-to-the-point-of-being-bland background jazz. This is get-out-the-good-earphones-I-don't-want-to-miss-anything listening music.I don't wish to get into too many superlatives. Dana Hall fills the rhythmic space tightly, not letting you forget this project is lead by a percussionist. But he does not overshadow the melodic elements. Warfield and Stafford are everything you would hope for if you have ever heard them, and more than you expect if not. Bass and keyboards blend in with intimacy enough to make a virgin blush. If you are bass solo fan (and really, who isn't?) check Whitaker's solo on "For Rockelle" his ode to his daughter.But I promised myself not to go into a track by track review. just buy and enjoy.

Dana Hall apparently double majored in percussion and aerospace engineering in college, which sounds pretty impressive, almost as impressive as this album. It's everything you want in modern bop: a killer lineup and a great selection of songs (mostly Hall compositions with a few from the band and one of Herbie Hancock thrown in for good measure). I really dig a lot of things on this album, that Hall solos while the rest of the band keeps time under him for one, but also the arc of each song is well conceived. I like how the groove in 'Black Mountain' goes from a sort of Tony Williams rims-drive during the trumpet solo to a more traditional swing during the sax solo. I like how at the beginning of the sax solo in 'Jabbali', the rest of the rhythm section cuts out for a sort of Trane-Jones segment between Tim Warfield on sax and Hall. The only track I don't really like is the title track, which is, in my mind, marred slightly by some superfluous electronics usage, but even that may be appealing to some. All in all: a great album.

Now this is what I'm talking about. Climactic, cerebral, fiery improvised jazz - and it's always a good omen to start an album with a Herbie Hancock tune. You can tell that this session is led by a drummer - just listen to him back there. Tim Warfield steals the show.

This is hard-hitting jazz! Hall's drumming is energetic, swinging, and loud, but without becoming overbearing. Not a weak link in this group and there's a nice, organic feel throughout...no poseurs, just honoest playing from Stafford. Warfield etc. Nice, varied program--there's time to catch your breath after burners like 'into the light' and 'jabali'.