Label: Self Released
I don’t select a Best New Artist every year like they do at the
Grammies, but if I were to do that, Matt Parker would have easily taken
the prize in 2013 for his standout debut album Worlds Put Together
.
The tenor sax maestro strikes me as a Joe Lovano with the gumption of
Rahsaan Roland Kirk or Eric Dolphy, a fun combination of qualities that
is so mindful of the jazz saxophone’s soulful past while giving in to
impulse, an oft-forgotten tenant of what jazz is about, too.
For
Present Time (February 12, 2016 by Bynk Records), Parker
puts his horn into even sharper focus by paring down his band to just
the rhythm section of Alan Hampton (bass) and Reggie Quinerly (drums).
It means that every note blown by Parker carries a heavier load and the
revelation of
Present Time is that he can not only handle it, he shines brighter as the spotlight gets hotter.
Part of the secret to delivering when there’s no one there behind him
handling the chord changes is being more personable in the delivery.
Parker doesn’t fuss over whether he’s leaving behind too many notes or
too few, as long as they carry out the right passion. No where can that
be more evident than on blues numbers like “Noah’s Arc” and here he
conjures up Coleman Hawkins in a particularly gruff mood. Contrast that
with the cheerfulness of “Present Time,” a throwback melody played over
Quinerly’s modern, almost drum ‘n’ bass beat that vacillates between 7/8
and 7/4.
Parker is fond of stretching out toward avant-garde while maintaining
a connection to tradition, as “New Horizons” makes clear. His wailing
notes on soprano sax with an improvising Quinerly beside him is mindful
of Coltrane/Ali’s
Interstellar Space except that Parker is too
melodically inclined to let it get that far outside. Halfway in he
ushers in a new figure with Hampton, and pours out fills of trills with
Hampton pulling out the bow. He goes without any accompaniment at all
for “The Gong,” making exhortations first on soprano and then tenor sax
(sounding as brawny as a baritone) punctuated by strikes to a gong. On
his final note, he blows through both horns in a nod to Kirk.
Parker showcases his facility for playing alongside a vocalist on a
handful of songs performed with Emily Braden. Most of her performances
are wordless, assuming a co-lead part that supplements Parker, but for
the standard “I’m Confession’ (That I Love You)” she sings the lyrics
while Parker goes into Lester Young mode. He proves to be a fine
accompanist behind Braden, acting almost as a harmonizing voice, and
amps up the energy level a notch for his solo turn.
The only other non-original is a Charles Mingus composition that has
never been fully recorded. “Song To Keki” is a pretty reading of Mingus’
melody, but when he enters the solo portion he flies off into orbit,
returning still feelin’ jaunty and improvising like no one in
particular.
The days when a teenaged Parker was just getting started playing in
New Orleans are alluded to in the second line pulse of “Sixteen,” with
Jerome Jennings (Sonny Rollins, Christian McBride) adding tambourine.
Parker cuts loose on tenor in a funky aside that surely would have
filled up his saxophone case on a French Quarter street corner. It’s a
nice and tidy wrap up of the whole album.
Present Time confirms the resourcefulness and playfulness of
Matt Parker’s saxophone that’s so engaging and so lively. These are
qualities that shine through whether he’s playing in an orchestra,
sextet or this trio. Show me someone who says jazz is no fun to listen
to and I’ll show them Matt Parker.
S. Victor Aaron
1. Noah's Arc 04:52
2. New Horizons 06:07
3. Winter's Gone 04:11
4. One For Duke 06:05
5. I'm Confessin' (That I Love You) 04:18
6. Song To Keki 04:08
7. Present Time 07:10
8. The Gong 02:38
9. Sixteen 03:07
Matt Parker, tenor saxophone, soprano saxophone and gong
Alan Hampton, bass (all but 8)
Reggie Quinerly, drums (all but 8)
Special Guest
Emily Braden, vocals (3,5,7)
Jerome Jennings, tambourine (9)
