Rob Thorsen – Lasting Impression (Pacific Coast Jazz 2009)

Rob Thorsen is a well-studied bassist. He has not only depth of knowledge of rhythm and harmonics, but also has flawless technique expression and a wonderful intonation. On Lasting Impression, a rather prophetically entitled record, he displays all of his skills in glorious fashion. There is also a sense that Thorsen wants to let listeners know where the musical influences are coming from. Make no mistake, Thorsen has a unique voice, but it is important to follow in the steps of the masters who went before him. The music does not give this away, Thorsen’s technique and style belies his tribute to the spirits up above: from Blanton’s forthright swinging statements to Mingus’ mercurial metric exercises to express abrupt changes in mood and tempo to the vocal harmonics of La Faro and Pettiford.

And then there is the music, of course. Thorsen sets the pace and shape of sound to come. He does nothing that will be safe. This is why he opens with a remarkable version of a little known Charlie Parker chart, “Dexterity.” The choice is deliberate. Nothing will be safe and easy going forward. On the other hand the music may well be more challenging. As it is this arrangement is wonderfully set in 8/4, with trumpet and bass in counterpoint while stating the melody as the percussionist steadies the song with staccato precision. Gilbert Castellanos is extraordinary in the manner in which he phrases his solo. Josh Nelson’s piano break brings back Thorsen—whose solo is anything but predictable as he reaches for the outer limits of the song until the group returns where they began, in a chattering exchange between trumpet and bass yet again.

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“Giant Steps,” a doffing of the proverbial hat to Coltrane is one of only a handful of versions of Coltrane’s late 50s classic that attempts to set this monster tune in a contemporary context. Its stop-start tempo is reminiscent of much of Mingus’ work. But that is where the comparison ends. Thorsen deconstructs the song cleverly, ably abetted by pianist Nelson, who plays a perfect foil to Thorson’s dominant bass. Jackie McLean’s “Little Melone,” a wonderfully quirky song gets the appropriate straight ahead treatment, although the song is never quite liner and makes for quite a few twists and turns. On Chaplin’s classic “Smile” Keezer is mesmerizing and provides Thorsen with a unique opportunity to dig harmonically deep into the heart of the melody.

Nothing about this record was going to be safe. Gershwin’s “The Man I Love” gets a wonderfully surprising Afro-Cuban splash with Duncan Moore’s drums and Charlie Chavez’s congas, but here too, there is a wonderful rhythmic twist between verse and chorus, with a half stop. “Milagro Café,” based on a Costa Rican rhythmic experience is a revelation, but it is “Cigarones” that stands out from everything else. Here Thorsen digs deep into his tonal palette and with Castellanos’ soft flugelhorn playing counterpoint to the wonderfully lugubrious tone of Ben Wendel’s bassoon, this track reveals the depth of Thorsen’s compositional abilities.

Remarkably, Thorsen closes with an unaccompanied bass solo “Wish with Us,” reportedly inspired by a couple of West Coast street musicians. His wonderfully lyrical bass lines absolutely sing as he closes out his remarkable Lasting Impression.

Tracks: Dexterity; Giant Steps; Little Melone; Smile; Milagro Café; The Man I love; Dance of the Freaky Circles; Cigarones; its All Right with Me; Wish on US.

Personnel: Rob Thorsen: upright bass; Geoffrey Keezer: piano (3, 4, 6-8); Josh Nelson: piano (1, 2, 5, 9); Gilbert Castellanos: trumpet, flugelhorn (1, 3, 5-8); Ben Wendel: tenor saxophone, bassoon (3, 5, 7-9); Duncan Moore: drums (except 10); Charlie Chavez: congas (6); John Rekovics: alto flute (8)

Rob Thorsen on the web: www.robthorsen.com

Review written by: Raul da Gama

Geoffrey Keezer – Aurea (ArtistShare 2008)

Geoffrey Keezer is a pianist of immense technical ability. As a musician and composer he is able to express himself in different idioms and settings. On Aurea, for instance, he makes a remarkable foray into the realm of Afro-Peruvian music. And he emerges from this colorful expedition with such a high degree of excellence that you wonder why more practitioners of jazz on the piano, for all its use as a primary rhythmic instrument in modern ensembles, have not made the journey into the ever-inviting musical realm of Afro Latin America earlier. Now it appears that so many musicians – especially New York based artists – playing in the jazz idiom seem to be besotted with the music of Latin America, especially Colombia and Peru.

It certainly appears, from the music on this record, that Keezer has not only imbued almost every aspect of Afro-Peruvian idioms and the rhythmic phrasing, but that he has also made it his own, emerging here with a virtually original musical avatar. So much so that it is almost impossible to tell “Cayendo Para Arriba” and (especially) “Una Bruja Buena” and “Leucadia” from say “”La Flor Azul” and “La Nostalgiosa”. But more than character Keezer may have also stretched even further the textures of a very elastic rhythmic culture. “Miraflores” with its layers of dark-to-light Afro-Peruvian rhythms under Keezer’s soaring piano improvisations, is a resounding classic. What this suggests is that, at least in terms of charts alone, Keezer may certainly have added to the contemporary catalogue.

He is doubtless, successful in this endeavor in no small measure because of the presence of his musical cohorts. Firstly, the Peruvian percussionist, Hugo Alcázar brings a wild, yet sophisticated reading of both, Keezer’s as well as the Latin standards and traditional songs. Jon Wilkan is the other percussionist and when they are together, they work up a dynamic storm. Also noteworthy are exquisite solos by Ron Blake (“La Nostalgiosa”) also Steve Wilson especially on “Araña Amarilla”. And then there is the majestic reading of all the bass parts by Essiet Okun Essiet and the stylish plucking on acoustic guitar by Peter Sprague. However by far the revealed star on this recording may be vocalist Sophia Rei Koutsovitis, who brings a raw, primal quality to the gut-wrenching readings of the vocal parts and is specially memorable on “Una Bruja Buena,” “La Flor Azul” and “La Nostalgiosa,” where she conjures the spirit of heartland of Peru. The elemental sadness of “Vidala De Lucho” is all too memorable thanks to the vocalist’s reading of the emotional phrasing of the song. Keezer of course set the mood with a spectacular introduction to the song.

In Aurea, Geoffrey Keezer has created a record of unforgettable grace and power. And the artist tells us that he has also made an extra-artistic commitment to the people of Peru. In going with ArtistShare, Keezer has committed to making a contribution to social projects in that country to alleviate some of the economic distress there. In this regard he has broken fresh ground in commitment to the artists whose traditions he shares here on this record.

Tracks Listing: Cayendo Para Arriba; Una Bruja Buena; La Flor Azul; Araña Amarilla; Leucadia; La Nostalgiosa; Miraflores; Vidala de Lucho.

Personnel: Geoffrey Keezer: piano, Rhodes; Steve Wilson: alto saxophone; Ron Blake: alto saxophone, flute; Phil O’Connor: bass clarinet; Sophia Rei Koutsovitis: voice; Mike Moreno: guitars; Peter Sprague: acoustic guitar; Hugo Alcázar: drums, percussion; Jon Wilkan: drums percussion; Essiet Okon Essiet: acoustic and electric bass; Susan Wulff: acoustic bass.

Geoffrey Keezer on the web: www.geoffreykeezer.com

Review written by: Raul da Gama