Label: Sunnyside Records, 2019

Personnel - JD Allen: tenor saxophone; Andrew Bishop: bass clarinet, soprano and tenor saxophones; Jeremy Pelt: trumpet; Ben Waltzer: piano; Chris Lightcap: double bass; Gerald Cleaver: drums.

This new outing from sought-after drummer/composer Gerald Cleaver is a bottomless well of energy and robustness. Five rhythmically-charged self-penned tunes (four of them retrieved from his 2007 album Detroit, which featured exactly the same group as here) were performed live at Firehouse 12. The spirited performance brainstormed a blend of novelty and familiarity that sparkles with gut-punch improvised moments. Moreover, this is a swinging record where his razor-sharp drumming skills solidifies a rhythm section that also includes pianist Ben Waltzer and bassist Chris Lightcap. They use their rhythm knowledge and charismatic accompaniment to support the melodic journeys of trumpeter Jeremy Pelt and saxophonists J.D. Allen and Andrew Bishop, a powerful frontline.

From the beginning, it becomes clear that Cleaver wants to avoid any type of dormancy, being interested in any groovy, swinging, and stimulating possibilities. Those energetic waves arise with the radiant swinging activity of “Pilgrim’s Progress”, whose theme’s melody has the force of an orchestra. By turns, Pelt and Waltzer see their fluid phrasing being disrupted by the bandleader’s interjections, in a surprising section of exchanges.

“The Silly One” is a bit less impetuous than its predecessor, but takes in elegant and sinuous collective moves complemented with striking improvisations from all three horn players. The backing presence of the bass clarinet is noticeable during the theme, and is Pelt who firstly goes impromptu with phrases equal parts articulated and expansive. He is followed by Bishop, who, in the meantime, had switched to soprano, and Allen, whose rich language leans on a vigorous post-bop sound that elicits offbeat reactions from his mates in the horn section and sets the pianist to venture with a touch of Latin in his supple accompaniment.

The title “Tale of Bricks” refers to the Book of Exodus and the music presents a mix of rigor and abandon while emanating a strong polyrhythmic feel in its introductory stage. The bass then lands in a glorious 11/8 groove over which the horn players blow with authority and gusto. In complete ecstasy, the outwardly expressive group swings in their own way, also creating tension through pedals and opportune punctuations.

This is also put on display on the closing number, “Detroit”, a tribute to the drummer’s hometown and another highly athletic exercise, instigated by a 7/8 tempo and a drum solo upfront. Intermittently swinging in four with that open posture that disarms, Cleaver and Lightcap know how to delineate a framework for their counterparts to fill. Bishop’s tenor solo is particularly attractive here by way of conclusion.

This is a true group effort where Cleaver shows his capacity of adaptation to any given situation. Hence, his kinetic fills and transitions are remodeled to better serve the Andrew Hill-tinged waltz “Carla’s Day”, a piece dedicated to his wife.

Cleaver and his Violet Hour group infuse a bracing freshness to these compositions, whose musical ardency is prone to increase pulse rates.