Reverse-Crossover: A New Jazz Trend?

DAVID BENOIT “Waiting for Spring.” GRP GRD 9595. ****

Over the years there have been countless instances of artists who have crossed over from pure jazz into broader pop and fusion areas, in search of greater sales glory. A reverse trend is manifesting itself.

Chick Corea now has a hit with an acoustic group. George Benson has recorded with McCoy Tyner. Pianists such as David Benoit and Rob Mullins (see below) are shifting gears into reverse via straight-ahead jazz albums.

Whether their motives are simply a change of pace or critical respect, the consequences are welcome. Benoit’s articulation, his improvisational flair and his compositions make it hard to believe that this is the same performer who gives those conservative concerts.

His long-expressed debt to Bill Evans is reflected in two Evans originals and in his own composition, “I Remember Bill Evans,” a pensive waltz.

He is in powerful company, with Emily Remler’s guitar featured extensively, Peter Erskine on drums and Luther Hughes on bass (replaced on two cuts by John Patitucci). The boppish blues “Cabin Fever” and the Brazilianesque “Some Other Sunset” exemplify Benoit’s talent as writer and soloist.

The idea for this album was suggested by his father, Bob Benoit, who plays rhythm guitar on the final cut, “Secret Love.” We are in his debt as well as his son’s.

ANDRE PREVIN “After Hours.” TelArc CD 83302. ***

In another form of reverse crossover--classical back to jazz--Previn proves that he has not lost his touch. This is his first jazz release in six years (he recorded with Ella Fitzgerald in 1983). With Joe Pass on guitar and Ray Brown on bass, he cruises through an unspectacularly agreeable set composed of three Ellingtons, two Kerns, a Fats Waller and two Harry Warrens. “All the Things You Are” and “Limehouse Blues,” taken at slower than normal tempos, and an ad-lib “Blues for Bunz” stand out in a collection that could be ideal balm as cassette music during freeway gridlock.

ROB MULLINS “Jazz Jazz.” Nova 8918-2. *** 1/2

Better known for his synthesizer work in the studios, Mullins makes an impressive jazz piano debut, succeeding both as composer (the dainty, impressionistic “Breakthrough,” the fittingly chaotic “Parking in Westwood”) and improviser. He is well served by the drummer Joel Taylor, the virtuoso bassist Brian Bromberg, and, here and there, Brandon Fields on soprano sax. Of the three standards, “Body and Soul” in double time works well, as does “Lover Man” (but who needs a drum solo in a ballad?).

MILES DAVIS “Aura.” Columbia CK 45332. *****

This is a strangely belated but still quintessential release. Recorded in Copenhagen in 1984 when Davis went there to receive the prestigious Sonning Music Prize (previous recipients were Leonard Bernstein and Stravinsky), this suite was composed for him by Palle Mikkelborg and recorded with a large ensemble that is almost all Danish (exceptions: John McLaughlin on guitar and Davis’ nephew, Vincent Wilburn, on electronic drums).

Obviously there is no invitation to foot-tapping; the work, each movement of which was named for one of the seven prime colors, is very complex metrically, often easing in and out of 7/8 time. Mikkelborg’s point of departure, in the serial manner, was a 10-note theme based on the letters of Miles Davis’ name, from which grew a chord, and in turn a scale that supposedly led him through the composition.

Examples of Davis in his most inspired contemporary mood can be found throughout, particularly on the two “Red” movements (open horn on “Red” and muted on “Electric Red”), as well as on the haunting “Violet.” “Indigo” is a curiosity; Davis does not play, yielding the solo spotlight to acoustic piano by Thomas Clausen and bass by Niels Pedersen.

There are references in the notes to Olivier Messiaen and Charles Ives, but it is Gil Evans whose shadow hangs most conspicuously over “Aura.” This being Davis’ first fully orchestrated work since the Evans era (early 1960s), it is of rare significance and reflects great credit on Mikkelborg’s sensitive impressions of the Davis persona.