Tenor saxophonist
Ron Blake makes large statements utilizing small groups on his latest Mack Avenue release, offering 13 diverse and creative duo and trio recordings. Although Virgin Island native
Blake's name is the one on the cover here, co-credit truly should have gone to pianist and producer
Michael Cain, who appears on every track, wrote or co-wrote some of the music, and guides it all as much as
Blake does. The two work beautifully together, and although
Shayari probably would have played just as splendidly if
Blake and
Cain were the only two musicians on it, its A-list of guests -- bassist (and former employer)
Christian McBride, drummer
Jack DeJohnette, violinist
Regina Carter, and percussionist
Gilmar Gomes -- brings vital flavorings to the tracks on which the guests appear. While it's still often tempting to play "spot the influences" in
Blake's playing, he's clearly emerged as his own man here: his solos bear a light but forceful touch; his phrasing is smart and absorbing, often boldly leaving the confines he's set up for himself to see what might lie on the other side. For his part,
Cain's ornate solos and fills add multiple dimensions to the tunes. At times one might long for the players to cut loose more than they do -- and sometimes, as on the playful "Atonement" and
Cain's "76,"
DeJohnette does run with it, not bothering to wait for
Blake and
Cain to keep up -- but
Blake always keeps things moving quickly, deceptively so at times. On his composition "Of Kindred Souls," which
Roy Hargrove covered some 15 years earlier with
Blake along for the ride as a bandmember,
Carter's violin (the only track on which she appears, unfortunately) is used sparingly but effectively, and
McBride, as always, adds depth to his two spots, particularly the skippy, Latin-tinged "Teddy," a
Bobby Hutcherson tune.
Gomes is probably the least known of the guest contributors, his unobtrusive percussion serving more of a sprinkling than the full-on attack of
DeJohnette's drums. But he is undeniably an essential component of his three tracks: on the album-opening "Waltz for Gwen," which
Blake cut previously on his 2000 debut as a leader, then playing alto, the Brazilian
Gomes heads instinctively south as
Blake blows authoritatively and sensually and
Cain dabbles in the blues. All of this is put forth in a sparkling, closely recorded manner that should finally establish the name
Ron Blake -- and the name
Michael Cain -- as a jazz force to be reckoned with. ~ Jeff Tamarkin