JAZZ SPOTLIGHT

CEDAR WALTON, RON CARTER, BILLY HIGGINS

“My Funny Valentine”

Evidence

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EASTERN REBELLION

“Just One of Those. . . Nights at the Village Vanguard”

Music Masters

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There are many similarities between these two live dates, recorded blocks apart in New York’s Greenwich Village. Pianist Cedar Walton, known as a solid player and composer of improvisational exercises since the early ‘60s, when he worked with Art Blakey’s Jazz Messengers and combos co-led by Benny Golson and Art Farmer, fronts both sessions. Irrepressible drummer Billy Higgins appears on both. Standards play a central role.

But the similarities stop there. Eastern Rebellion, Walton’s longstanding four-piece vehicle that has included saxophonists ranging from George Coleman to Bob Berg, is here hijacked by saxman Ralph Moore, whose inspired play is the focus of this eight-tune program.

Moore cuts across Walton’s “Something in Common” in lickety-split bursts, pausing between sprints in dramatic fashion before dashing off again. On soprano for Thad Jones’ “A Child Is Born,” he takes a more reflective posture, standing relaxed and easy inside the melody as Higgins adds shimmering cymbal support.

Walton is left in the shadows. His best moments here, despite his characteristic enchanted improvisations, come in accompaniment as he prods and coaxes, playing off Moore’s saxophone lines with spacious, active response. Although there are a number of magic moments, “Nights at the Village Vanguard” is hard to take all at once. The closer, “Just One of Those Things,” is especially tiresome.

By contrast, “My Funny Valentine,” recorded live at Sweet Basil in 1991, impressively documents an entire set. Bassist Ron Carter is central. His tone is remarkably firm, and his support of the piano frees Walton to take charge.

“Valentine” catches Walton at the peak of his improvisational abilities. The disc, originally given limited release on the club’s Sweet Basil label, concentrates on Walton’s ability to mold a standard in his own likeness. The opening to the title tune provides a good example, as the pianist brings a sinister chill to the usually somber ballad.

Walton’s ability to go against the rhythmic grain while pursuing a melodic line, notably on “ ‘Round Midnight,” and his skill at building deep, chordal statements make this date a must for keyboard fans.

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