Criss Cross Jazz 1294
As with Rose's previous two CDs for Criss Cross, the line-up is basically that of the Nicholas Payton Quintet. Usually the pianist was Anthony Wonsey, but, from memory, he was away in Japan with his own trio at the time this was recorded. Why it's taken nearly four years to get a release is hard to justify. And, sadly, it turned out to be one of the last recordings before that group finally broke up. With the ever-improving, versatile Goldberg subbing for Wonsey and the introduction of an outstanding new young vibes player, Warren Wolf (like Mike Moreno and Tommy Crane, a member of Jeremy Pelts experimental 2005 group), who has many of the characteristics of his main inspiration, Bobby Hutcherson, this is a superior session of tasteful quality jazz. Rose's three tunes are very varied. The opener, `Robin in Pink' (an equally good alternative take is also included) is very down-tempo, very relaxed, very enjoyable. His CD title composition, with exciting solos by Goldberg, Warfield and Wolf, is a total burn-out. The other equally free-style track, with effective double-time in places, is an original stop-go treatment of the Jimmy Heath standard, 'Gingerbread Boy'. Then there's an `up' 12-bar ('Liyah's Blues') with a forgettable theme, but storming solos over as swinging a rhythm section as you could possibly wish for, with Rogers' bass lifting everyone. Warren Wolf is wonderful on this one. Towards the end of Warfield's solo, there's a wickedly wild, off-the-wall quote from an early Bird dues theme (is it `Buzzy'?). Warfield's main feature is his own sensuous ballad, `Lies in Beauty', while Goldberg's `Shed' in 5/4 is also strong. Payton is happy to be a stellar sideman and plays inventively throughout, while Rose gives ample evidence of the reasons Payton used him for so long.
Tony Hall
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