Triple Play

Description

As one reviewer wrote: “One of the most engaging developments in the evolution of mainstream jazz has been its periodic, fruitful flirtations with the syncopated disciplines of rhythm and blues. On “Triple Play,” a highlight from trumpeter-composer Rich Willey’s new collection, Laid Back, Vol. 1, this cross-pollination is examined with spectacular results, yielding a performance that carries the sophisticated, brass-heavy punch of a classic Tower of Power chart.

The success of this venture rests squarely on the shoulders of arranger Wally Minko, who has taken Willey’s inherent melodic wit and framed it within a crisp, intensely rhythmic structure. Minko’s chart snaps with precisely tailored horn figures and a relentless, urban drive. Overseeing the session, producer Carey Deadman has achieved a stellar sonic equilibrium, capturing the aggressive bite of the rhythm section without ever sacrificing the pristine clarity required of a top-tier jazz date.

To execute a chart of this caliber requires a rhythm section capable of absolute, unyielding precision, and the unit assembled here delivers in spades. Bassist Chuck Webb and drummer Charles Heath lock into a formidable, funk-inflected pocket that provides an airtight foundation. Atop this bedrock, guitarist Felton Offard chips in with razor-sharp rhythmic chops, while keyboardist Paul Mutzabaugh flavors the mix with sophisticated, greasy chordal stabs.

A standout moment features the horn section navigating a tricky, tightly-wound unison bridge with effortless precision and a deep, infectious groove.

The emotional apex of the track belongs to the soloists, arranged in a sequential order that offers a fascinating study in technological and acoustic juxtaposition. First to bat is John Swana, whose work on the Electronic Valve Instrument (EVI) is nothing short of a revelation. Where others might sound clinical on a synthesizer interface, Swana rides the wave of this R&B groove with an incredibly fluid, liquid-fire agility, constructing an otherworldly improvisation that perfectly bridges the gap between jazz intellect and funk grit.

Following this electronic tour de force, the leader steps to the microphone to deliver the acoustic counter-punch. Rich Willey’s trumpet enters with a robust, commanding tone and an absolute authority over the changes. Eschewing flashy, empty pyrotechnics, Willey shapes a brilliantly paced, singing solo that grows organically out of the rhythm section’s heat, proving himself a tune-smith of the highest order even when the groove turns muscular.

After a taste of Minko’s signature harmonic “hipness,” the ensemble roars back for a final pass at the bridge, “going home” with a powerful gospel rhythm that punches all the way to the final beat. It’s a masterclass in ensemble precision and pure, unadulterated joy.

“Triple Play” is a triumphant example of how traditional jazz sensibilities can be seamlessly welded to a contemporary, soulful groove when guided by astute arrangement and sharp production. It is an absolute pleasure from the first note to the last.”