VCU trumpet professor Rex Richardson’s latest release, “Jazz
Upstairs: Live at the Bar-Guru-Bar,” is a testament to his versatility
and stylistic genius. Composed of some of the finest swinging Greeks
around, Richardson’s dazzling quintet recorded live in Athens during
four nights in March 2006.
“Live at the Bar-Guru-Bar” is a straight-ahead album with three
Richardson originals, some modern and established standards and
two originals by Athens-based alto saxophonist Takis Paterelis. The
solid yet daring rhythm section consists of pianist Dimitris Kalatzis,
bassists Giorgios Giorgades and drummer Alex Drakos Ktistakis.
The album opens with a brisk rendition of Cole Porter’s 1929 hit,
“What Is This Thing Called Love?” featuring Richardson playing
the melody with some lovely counterpoint by Paterelis. It grooves
hard, and the inherent sappiness of the tune is left by the wayside
while Richardson, Paterelis and Kalatzis tear the tune to shreds.
The dirty hip-hop beats of Ktistakis are among the most prevalent
aspects of Richardson’s “The Tao of Heavy D.” The atonal melody
is played by the horns while the accompaniment of bass and piano
is reminiscent of Mile Davis’ “So What.” Kalatzis takes us through
a journey in jazz history with a solo stepped in heritage, while
Ktistakis and Giorgades remain in the pocket throughout.
Paterelis demonstrates his arranging chops in two very different
tunes, “Fog” and “Buhaina’s Smile.”
“Fog” features Richardson on the melody with tender touches
from the brushes and keys. Paterelis plays a soulful solo with a tone
reminiscent of contemporary saxophonist Keith Anderson.
“Buhaina’s Smile” is an upbeat tune with flowing melodic lines
that jump in and out of a Latin feel and into swing. Richardson
and the rhythm section all solo on this one, showcasing the group’s
broad range of expertise. Ktistakis flails and beats the drums into
submission on this one, showing there is no distance that separates
jazz greatness from these musicians.
“Biliku” is a melancholy ballad that is both spacious and thoughtful.
Richardson uses the timbres of the group to
great effect, leaving the listener longing for a love
that was never there.
James Spaulding’s “Kryptonite” opens with a
long trumpet cadenza full of growling and heavy
runs that give way to the band’s ominous response.
The startling exposé creates the attitude of the
piece, one of crunchy harmonies and stalking
rhythms.
The finale of the album is Richardson’s “The
Claim of the Ideal,” which brings out the best in
Paterelis, who soars over the changes.
Richardson’s short piccolo trumpet solo creates
the segue for him to enter into a nice little
dialogue with Kstistakis.
In short, the album kills. One might start to unwrap the CD
thinking, “How can a bunch of Greeks hang with the likes of
Rex?” but they’ll soon realize these aren’t your average European
musicians. Incredibly innovative and tasteful, hopefully, the quartet
has set aside some time in the future to again make music with this
wonderful trumpeter.
Grade: A+