New grooves: From Dave Brubeck to Kenny Barron, a celebration of jazz

Let’s take a look at the best jazz albums we heard in 2021. With the abundance of musical talent and music schools in New England and the Northeast, we surely have a wonderful stock of regional talent. Many of the artists this year worked off themes of emerging from the pandemic, in especially joyous music. Jazz is a continuum, like any music and 2021 saw several artists use the music of past masters to offer a fresh look forward. This week we salute six albums that re-interpreted timeless music and next week we’ll look at the best jazz records of new, original music.

“MAGIC DANCE: THE MUSIC OF KENNY BARRON” by GREG ABATE (Whaling City Sound) Fall River native Abate and his quartet produce a superb two-CD set of music from NYC pianist Barron, who plays in the quartet with his pal Abate. Barron is one of the most unheralded giants in modern jazz, with the gift of suffusing everything he plays with a warm melodicism, no matter how edgy or complex it might be. Saxophonist Abate is another master of melody, so this is a labor of love that works tremendously well. From the delightfully playful ballad “Cook’s Bay” to the Charlie Parker intensity of “Lemuria,” to the breezy romp of “Voyage,” this is a work that will entice music fans to explore more of Abate and Barron’s work, and both are at the top of their game on this record.

Music Scene: R.I. jazz great Greg Abate takes on the music of Kenny Barron

“SONGS FROM MY FATHER” by GERRY GIBBS & THRASHER DREAM TRIOS (Whaling City Sound) His vast musical talent aside, New York City drummer Gerry Gibbs is a genius at conceptualizing jazz projects. This double-CD features 18 songs written by his dad, big band vibes player Terry Gibbs, now in his mid-90s. But Gerry Gibbs took his Thrasher Dream Trio idea to a new level, recruiting four separate groups to deliver this music. Produced during the pandemic, Gerry got around the problem of getting all these people together by packing up his car and a small trailer and driving to wherever they were – a wrinkle that convinces you he’s right when he says his wife, Kyeshie, is the unsung hero of the project. But the trios are jaw-droppingly excellent; with the late Chick Corea and bassist Ron Carter forming one; Kenny Barron and Buster Williams a second; Geoff Keezer and Christian McBride another; and one unique trio consisting of Patrice Rushen on piano and Larry Goldings on B3 organ. The four trios split the tunes evenly, so that just as you marvel at the heady Corea/Carter treatment of “Bopstacle Course,” you can then revel in the Keezer/McBride take on “Nutty Notes.” The Barron/Williams trio shines on “Kick Those Feet,” and that funky Rushen/Goldings trio does “Hippie Twist” with flair. There is one extra song, not penned by the senior Gibbs, and that is “Tango for Terry,” a tribute to the older Gibbs by Corea, and the Chelsea native’s playing on this album is his last recorded performance.

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“SELFLESSNESS: THE MUSIC OF JOHN COLTRANE” by DAVE LIEBMAN EXPANSIONS (Dot Time Records) Tackling new treatments of Coltrane classics is a formidable task, but soprano saxman Liebman has done six previous albums based on ‘Trane compositions. His Expansions quintet includes Bobby Avey on piano, Matt Vashlishan on saxes, Tony Marino on bass and Alex Ritz on drums. Most notably, the quintet does Coltrane’s most popular piece, his cover of “My Favorite Things,“ beginning with a long and sumptuous piano solo, and gradually morphing into the familiar theme, but with a 4-4 tempo that adds a racing quality that makes this version unique. Liebman’s soprano sax caresses the melody on the ballad “Peace on Earth,” and the title cut is a meditative exploration that nonetheless becomes quite intense. This collection of new takes on the legend ends with a wondrous “Dear Lord” that enhances the spiritual tone in Coltrane’s later work.

“OUR TIME: RE-IMAGINING DAVE BRUBECK” by MARK ZALESKI BAND (Origin Records) Saxophonist Zaleski, a native of Boylston, studied as a teen at the Dave Brubeck Institute and now teaches at the New England Conservatory. His sextet includes brother Glenn Zaleski on piano, Mark Cocheo on guitar and Jon Bean on tenor sax, along with Mark Zaleski’s alto and soprano saxes. Re-doing Brubeck music is a tall order, not least because of his long association with Paul Desmond, who had arguably the best tone of any saxophonist. They don’t go for the obvious Brubeck covers, like his big hit “Take Five,” but unearth layers of new meaning in a wide variety of his work, and also explore the odd time signatures that were a Brubeck hallmark. “Blue Rondo a la Turk,” for instance, rides that hypnotic 9/8 tempo before resolving into a 12-bar blues for the solos, where Mark Zaleski’s sax really pushes the envelope. The lush melody of “The Duke” showcases both saxes together, while “The Golden Horn” starts with just alto and drums, before moving into an exciting workout by the whole band. Brubeck molded 7/4 time and country western in “Unsquare Dance,” and this version has the guitar and bass dominant in the solo section, before finishing in a flourish of superb unison playing by the whole group.

“SONGS OF JOY” by YOKO MIWA (Ubuntu Music) Warmth and melodic grace permeates everything Boston pianist Miwa plays and that’s especially true on this collection of music she wrote to be uplifting and optimistic during the pandemic. There are inspiring covers from the music of Billy Preston (“Song of Joy”), Richie Havens (“Freedom”), and Led Zeppelin (“Babe, I’m Gonna Leave You”) that are just tremendously infectious. Jazz great Duke Jordan’s “No Problem” is a showcase for Miwa’s superb technique and enveloping sound. And her own “Largo Desolato” is the perfect cathartic vehicle for these times. Miwa is accompanied here by her husband, Scott Goulding, on drums and Will Slater on bass with bassist Brad Barrett guesting on the Led Zep tune, and they enhance her wonderful music.

Music Scene: Jazz pianist Yoko Miwa plays from her heart on 'Songs of Joy'

“YOU ARE THERE” by SHAWNN MONTEIRO (Whaling City Sound) Vocalist Monteiro has retired from teaching at the Jackie McLean Institute of Jazz at the Hartt School in Hartford and has also taught at Providence College and Rhode Island College. Half of these 12 tracks feature her usual pianist Mike Renzi, while the other half feature Kenny Barron with a core quartet and horns added to about half the tracks. Monteiro has chosen an eclectic collection of covers. The swinging “Let’s Eat Home” takes on a definite pandemic-inspired comic tone while her confident command of “Autumn Leaves” benefits from the way Barron embellishes the melody. “The Shadow of Your Smile” gets a vivid updating and Neil Sedaka’s “Alone At Last” swings with a gentle samba feel. Monteiro’s tone is remarkable throughout, with a smoky sensuality that makes each song feel intimate.

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This article originally appeared on The Patriot Ledger: New jazz grooves from Greg Abate, Gerry Gibbs, Yoko Miwa and more