Chris Potter (tenor sax); Craig Taborn (piano); Scott Colley (bass); Marcus Gilmore (drums)
This feels like the one this band had been waiting for. The sense of freedom is almost palpable, as if the fear of a return to lockdown was in the air and the organisation and recording had to be accelerated before we were all ushered back into our hutches.
Potter had released an album during lockdown (There Is A Tide) on which he had played every note but with Got The Keys To The Kingdom he was now allowed to go out and play with his friends and, by God, he was going to make the most of it.
He’s assembled a top notch small group, compiled a set list of
almost standards, (no originals here, no time to learn any new tunes, anyway),
barged through the doors and hit the stage. It’s February 2022 and we’re back
in business (!) band and audience in full voice, celebrating jazz as a communal
event for the first time since Covid brought the shutters down. Despite the
programme of ‘standards’ this is no pedestrian trundle through tunes we’ve
known and loved before. This band takes the flavour of the originals and adds
some extra original spice all of their own.
The album opens with an unaccompanied solo from Potter, a call
to prayer before the others join in what is a mid-pace rolling blues (You Gotta Move) which Potter still
dominates, full voiced and joyous. The tune continues to build and build with
Potter straining every sinew at the top of the tenor’s range. It’s
anti-climactic when he steps back for Craig Taborn to inject some piano majesty
with fistfuls of notes before reaching a similar peak to that which Potter had
previously climbed.
Nozani Na is an Amazonian
folk song delivered with the sort of lilting Brazilian swing you would expect
but it’s also the building block for a searching free excursion from Taborn
before Potter comes in and calms everything down. Its points to the rhythm
section, too, for the pushing, consistent pulse behind the front two.
Blood Count is a Billy
Strayhorn piece from the Ellington album ….And
His Mother Called Him Bill. History has it that it was Strayhorn’s last completed composition before his death in May
1967. It is, of course, one of the most beautiful, mournful, elegant melodies
in jazz, and sounds as if it was inspired by Strayhorn’s fading heartbeat. Taborn
introduces it with a delicate lacework of a solo. Potter’s subsequent solo over
the top also recognises that it is the spaces in the tune, the sound of someone
struggling for that last breath, which reinforces the tragedy.
By way of contrast, Klactoveedsedstene, (one for the spellcheck to fret about) is full on. Potter blowing like fury, riding the rhythm like there’s no tomorrow, Marcus Gilmore’s widescreen drumming, waves of crashing cymbals, Scott Colley’s solid driving bass. All marvellous!
Even though Ohla Maria slows
the tempo somewhat Potter still provides broad spectrum blowing over lovely
support from the band. What comes through here is the interaction between the
four, listening and passing the baton between themselves.
And why not go out on a high with the title track? Another high
tempo post-bop rock out based on a traditional spiritual according to the
writers credits, with Potter’s wailing solo over clattering drums and Taborn
throwing shapes on the piano. Throw in an explosive drum solo with howls of
appreciation from the audience; Potter rides in on top of Gilmore and maintains
the same energy levels to the end of the piece.
The notes on the Edition Records page for the album says that
these tunes “make the final cut from the multi-night residency” which
suggests that there might be more in the can. If so, put me on the pre-order
list for Volume 2!
Got The Keys To The Kingdom is available from all the usual outlets including Bandcamp and Edition Records, whose page about the album includes more information about its making. Dave Sayer
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