Sonny Clark's conception of modern jazz is not far removed from his peer group of the late '50s, in that advanced melodic and harmonic ideas override the basic precepts of swing and simplicity. What sets
Clark apart from other jazz pianists lies in his conception of democracy to allow his bandmates to steam straight ahead on compositions he has written with them in mind. Though the bulk of this session features the marvelous trumpet/tenor tandem of
Donald Byrd and
Hank Mobley, it is drummer
Art Blakey whose demonstrative presence is heard in full force. He's kicking the band in his own distinctive, inimitable way, rambling through the opener "Junka," based on the changes of "You Go to My Head" with his brand of bomb drops, hard accents, and indefatigable swing. Simply put, this is hard bop at its very best. Several of
Clark's very best works are present and accounted for, including two takes of the definitive "Minor Meeting." The second version with
Byrd and
Mobley has a wonderfully subtle, Asian flavored ascending and descending melody, but the so-called initial recording includes guitarist
Kenny Burrell, tenor saxophonist
Clifford Jordan, and drummer
Pete LaRoca, and sounds quite different. A calypso intro from the drummer yields a different palate, as
Burrell in particular takes charge. "Eastern Incident" with the
Burrell-
Jordan tandem also takes a Far East tack, a completely relaxed line with
Jordan smoother than
Mobley. "Royal Flush" is also one of
Clark's all-time keepers, a true beauty in Latin dress with slight harmonic inferences. This is for the most part a hard swinging date, the exceptions being the cute, sweet, basic shuffle "Blues Blue," a dramatic two-chord progression on "Some Clark Bars," and the third track featuring a
Grant Green styled
Burrell for the fleet "Little Sonny." Kudos to the great bassist
Paul Chambers who plays on all of these cuts with
Clark, and is unquestionably in his prime. Except the extraordinary
Leapin' and Lopin, this album of contrasts, depth, and spirit showcases
Clark's dual concepts brilliantly, and is only a half step below his best. ~ Michael G. Nastos