Label: High Note Records, 2022
Personnel - Tom Harrell: trumpet, flugelhorn; Luis Perdomo: piano; Ugonna Okegwo: bass; Adam Cruz: drums.
The incredibly talented trumpeter and composer Tom Harrell releases Oak Tree, another hard-to-resist album, such is the variety and sophistication of the music presented. In a career that spans 50 years (with appearances alongside Phil Woods, Jim Hall, Bob Brookmeyer, Joe Lovano, and Horace Silver), the trumpeter has been championing the jazz tradition and developing a clear, precise and fluid language that puts him in a league of his own.
Teamed with Venezuelan-born pianist Luis Perdomo (in their first studio collaboration) and regular collaborators, German-Nigerian bassist Ugonna Okegwo and American drummer Adam Cruz, Harrell explores 11 new originals that exemplify his signature aesthetic, often based on modal centers, smart rhythm changes, diverse musical influences, and fantastic melodies.
The opener “Evoorg” (reads ‘groove’ backwards) starts the proceedings with enormous hard-bop and post-bop appeal and notable support of the rhythm team, whose members keep playing closer to the vest. Harrell dishes out a graceful, uplifting solo, being followed by Perdomo, who is given more latitude to expand beyond the lilting accompaniment. In the same vein, “Archaeopteryx” pays a fun tribute to both dinosaurs and Charlie Parker, featuring a fine conversation between Okegwa and Cruz while trading fours.
As it happened in the latter tune, Harrell overdubs his horns on the exciting and agile “Zatoichi”, a tribute to the enigmatic fictional character of the same name, a blind Japanese blademaster who is the hero of many films and TV series. Cruz’s proficiency comes with ease here, whether employing occasional snare drum rolls or engaging in tom-tom terminology.
If “Tribute” brings to mind “Samba de Uma Nota Só” by the master Brazilian composer Tom Jobim, then “Sun Up” conjures up the reggae of Bob Marley. “Shadows” also breathes some bossa feel, and even includes some waltzing bars at the end. Both “Fivin’” and the title cut favor pristine playing. The former develops with Perdomo emanating an amiable, soulful funkiness on Fender Rhodes; the latter features the group languorously peeking through a cadenced harmonization.
On this recording, Harrell and his associates emphasize the genre-bending versatility that is their common strength. The result is extremely pleasing to the ear.
Favorite Tracks:
01 - Evoorg ► 02 - Fivin’ ► 05 - Zatoichi