The future of jazz rests in the emergence and development of the so-called "young lions" of the genre, three of which released albums in 2004.
A member of a NYC-based non-profit organization, the Jazz Composers Collective, bassist Ben Allison is one of the more interesting new composers who find ways to weave 21st Century threads into their quilted music. Allison's septet Medicine Wheel, consisting of fellow JCC members, interprets his eclectic motifs that suggest the influence of both old, blues-based jazz and new exotic forms. On Buzz, Allison and the group create musical tapestries of piano riffs and horn ensembles that sound like aural storytelling; in the liner notes, Allison refers to images of dramatic sequence, either on stage or in real life. He is also interested in symbolism--the title cut is meant to reflect the "buzz" of city life. Two covers reflect the broad scope of his tastes: one by Andrew Hill, another by John Lennon. His composing style, which reflects a Mingus-like karma, establishes a stern beat but allows room for his soloists to explore and juxtapose mood and pace. This material is refreshing, challenging, yet accessible, something for the new generation to chew on.
Pianist Jason Lindner's unapologetic urban jazz approach has turned heads in New York for about a decade. First making a scene at the underground club Smoke, Lindner led an ensemble through a first release, Premonition, that included a rap in honor of Mary Lou Williams and showed he was a major talent in both composition and arrangement. Live/UK is a straight-ahead effort recorded live in London in 2001, which reflects Lindner's propensity toward smooth Latin beats and citified rhythms. Other homegrown talents--bassist Omer Avital, drummer Marlon Browden, and saxophonist Jimmy Greene--confidently ride the waves of seven Lindner compositions, all of which swell and engulf the engaged listener, whether in the club or at home under the headphones.
One more live album features perhaps the hottest of the lions, saxophonist Chris Potter, who is now the sideman of choice for many leaders looking for a player who can adjust to most any generic challenge. Potter, who gained much positive vibration through his playing with the Dave Holland Quintet, has accompanied a broad band of talent, from pianist Renee Rosnes to bassist Steve Swallow to the jazz-influenced duo Steely Dan. His versatility and inventiveness is clearly shown on Extended Play, the two-disc live album by the Holland quintet. On Lift, Potter's quartet features equally versatile pianist Kevin Hays, the wonderful bassist Scott Colley, and the exciting drummer Bill Stewart. Its first cut, "7.5," opens and closes with an irritating, repetitive keyboard riff that sounds like someone is trying to dial a push-button phone while Potter leads a hard bop groove. Outside of that diversion (a precursor to the quartet's second studio album on Verve, Traveling Mercies), the group settles into some solid, percussive material that exemplifies the musicians' strengths and interplay. Potter's confidence and intensity, supported strongly by his backup pals, is clearly evinced by the sheer volume and range of his solos; all the while, Potter angles the band toward synchronistic moments that spell g-r-o-o-v-e.
