Here we go, with James and Del and Rayford
on a swingin' ride where this moment morphs into a kind of eternal
moment where standards reign - plus a clever original tune by
the one and only Mr. doBonge himself (AKA James Bongiorno).
By whatever name, these three "musicateers" play their
hearts out and their socks off. It's a romping good time for
all, especially listeners.
The title track leads the pack in a softly
swingin' way introducing the great companionship among pianist,
bassist,, and drummer. It's an ideal combination, and a familiar
one, of a jazz trio suited for quiet but passionate club dates.
Del Atkins is superb throughout, whether taking a solo or walking
the bass line for his amigos. In many ways, he's a stellar standout
and the group just wouldn't have its unique, laid back style
without him. His solo on "On Green Dolphin Street,"
is exemplary for all beginning and accomplished bassists - for
here we see the difference between soloing and bass lines in
highlighted fashion. Rayford Griffin, too, is indispensable
to the trio and its sound, providing just the right rhythms
at just the right time, underscoring all the changes Bongiorno
and Atkins are making.
Bongiorno's opening on the Jobim classic, "Wave"
is pure delight. It begins slowly like a wave coming in from
the distance, pure corduroy to sunset as the surfers say. But
this isn't surfer music, this is Brazilian bossa at its best,
with Griffin providing just the right clave rhythms as the waves
of sound soon crest into a soothing solo by Bongiorno, kept
on the straight and narrow by his trusty sideman, Atkins. Here
we see just why "Wave" is such a popular tune, so
suitable for interpretation and improvisation. It's so satisfying
that one wishes the Bongester would cut an entire Jobim CD.
May we so hope.
Part of the pleasantry of the project is the
choice and set sequence of the tunes. No sooner does one ride
the waves of "Wave" than the old ballad "Fools
Rush In" appears (recorded by everyone under the sun, including
Ricky Nelson!) No rockabilly here, however, Bongiorno's piano
takes over in a long, flourishing chorus that soon settles into
just the right easy, fingersnapping chord melody reinforced
again by the stellar sensibilities of Atkins and Griffin. Ah,
one can but wish too for an entire CD featuring Atkins. His
sound, whatever kind of bass, vintage or new, he's using is
downright mellifluous and his solo here is perfectly pleasing
if much too short! And few peers know the intricacies of brushes
the way Griffin does. Yes, rhythm rules in more ways than one
in this long cut.
All of the tracks are generous in their running
time and one moves from standard to standard in the most seamless
of ways. One just can't go wrong - at least these fellows don't
- with the likes of Jobim, Bloom, Van Heusen, Rodgers, Gershwin,
Kern, and Rodgers.
Atkins takes the lead on "Itty, Bitty,
Nitty, Gritty…Blues for the Bassman Song," setting
just the right mood for the sense of the lyric, sound and sense
blending into an organic whole. Bongiorno plays his part too;
not just as the composer but also in a jazzy solo much in keeping
with the dedication to the bass man. It is the bass man, however,
who shines here in an impressive solo, fully accepting and in
keeping of the song's intent and dedication. Bass and piano
soon enter into a sustained call and response chorus that one
hates to see end - bass coming round again to play in out just
like it played it in.
"Here's That Rainy Day" lends itself
to Latin rhythms in the most delightful ways. Wes Montgomery
proved that for one, and the trio here realizes all the tune's
bossa potential in a lilting arrangement, much the book end
to their performance on "Wave." "Miss Jones"
struts out with all the exaggerated bumps and grinds of a latter
day Miss Tempest Storm, if anyone remembers. Again, the arrangement
is just right, and all new for what is usually a burner. "I've
Got a Crush On You," complete with its wonderful verse,
takes one back to Nat King Cole's landmark interpretation, and
dare one say, his keyboard flourishes and mellow tones. "All
the Things You Are" and "Falling in Love with Love,"
as well as the bonus track, "Bye Bye Blackbird" are
all fine and dandy.
One would never know that Bongiorno, also a
master on the accordion as well as the piano, made this recording
under less than desirable health conditions, and limited rehearsal
time. But no apologies are needed. Here's a great musician leading
two great sidemen in a momentous recording.
THIS
IS THE MOMENT -The Bonge, www.ampzilla2000.com.