SF Jazz Collective wowed critics and jazz fans alike with their debut offering on Nonesuch. Pared from a triple disc offered on their website to a single CD, it was the first to showcase the group's M.O.: to pick one jazz composer per season, focus on reinterpreting that work for octet, and showcase for the writing of individual members -- one song by each -- and record it all. Their debut,
SF Jazz Collective, focused on the tunes of
Ornette Coleman and was stellar in every way. The Collective went through some personnel changes in their second season: bassist
Robert Hurst was replaced by
Matt Penman, drummer
Brian Blade by
Eric Harland, and trombonist
Josh Roseman by
Isaac Smith. Returning are pianist
Renee Rosnes, saxophonists
Miguel Zenón and
Joshua Redman (the group's artistic director), trumpeter
Nicholas Payton, and the legendary vibraphonist
Bobby Hutcherson.
Gil Goldstein returns as arranger and consultant. The liner notes by
Bob Blumenthal underscore
Goldstein's contribution as a silent ninth member of the group who helps in reshaping the work to fit a larger group setting. In 2005, the focus was on the work of
John Coltrane, and like its predecessor, has been trimmed from a double disc -- the original features seven
Trane works as opposed to the four included here -- to a single disc. The eight individual compositions -- all present on the double-disc set -- have been honed to four, with pieces by
Payton,
Redman,
Zenón, and
Harland.
Coltrane's "Moment's Notice," from Blue Trane kicks the recording off. This is a daunting piece for many improvisers in that it sets a new bar for harmonic invention on the fly.
Goldstein adds new material to the beginning that introduces even more quickly the juxtaposition of rhythm and melody that gives way to the theme of the tune.
Redman's solo stands out, as does
Payton's. Next up is the classic, "Naima," from
Giant Steps. Perhaps
Coltrane's best-known ballad, it stands in sharp opposition to his later style of playin.
Bobby Hutcherson gets the nod here and does an utterly beautiful job in the solo, articulating the piece's open chords, quiet dignity, and its understated sentiment. The other two
Coltrane tunes are the modal masterpiece "Africa," from the Africa Brass sessions, and the steaming "Crescent," from the album of the same name.
Hutcherson and
Redman clearly stand out from the pack on the former, while
Payton,
Smith, and
Zenón do on the latter.
Redman's "Half Full" features a gorgeous solo by
Rosnes as well as a nice flute bit for
Zenón.
Payton's "Scrambled Eggs" is a furious blower for the trumpet player who engages every member of the group before he closes it breezily.
Goldstein's charts are magnificent and full of quizzical moments, and meaty, challenging blowing interplay. In sum,
SF Jazz Collective, Vol. 2 offers every bit of the satisfaction that its predecessor does, and despite the changes in personnel, this is a group that truly plays together as a collective, setting them apart from a good number of other ensembles made up of soloists. ~ Thom Jurek