A Major-Label Debut for an East Coast Innovator

Dave Douglas may not be an especially familiar name to many West Coast jazz fans. But the East Coast visibility of this talented trumpeter-composer is bright and clear, in part because of his own far-reaching, eclectic musical skills, in part because he has been the darling of East Coast jazz critics. In 1999, he won an astonishing four awards at the New York Jazz Awards and was named jazz musician of the year by Jazz Times magazine.

Although he has been well-recorded in the past, the releases have generally been from small independent labels. And the 36-year-old Douglas will undoubtedly receive a far wider hearing as the result of his recent signing by RCA Victor. His first album for the label, “Soul on Soul” (***), is a tribute to legendary pianist-composer Mary Lou Williams--actually his third such dedicatory effort. (The previous two, honoring Booker Little and Wayne Shorter, were on other labels.) As such, it presents Douglas in a somewhat more accessible format than has been true of his typically avant-garde outings.

Of the 13 tracks, the nine Douglas-penned pieces are products of the laid-back, carefully crafted aspect of his musical persona, with most of the aggressive, edgy soloing provided by tenor saxophonists Chris Speed and Greg Tardy. Effective as tribute pieces, they pale in comparison to the quirky adventurousness of the four Williams numbers--”Aries,” “Mary’s Idea,” “Waltz Boogie” and “Play It Momma.” Originally conceived within the three-minute framework of 78-rpm recordings, Williams’ works are remarkably complete compositions, performed superbly by the Douglas group--with notable solo contributions from pianist Uri Caine and clarinetist Tardy, in addition to Douglas. Reminiscent of Wynton Marsalis’ Ellington and Monk reexaminations, they illustrate the many treasures lingering in jazz’s past.

A considerably different-sounding Douglas is present on “Leap of Faith” (***), recorded in 1998 as presumably the last of his albums for the Arabesque label. Working with a quartet that includes saxophonist Chris Potter, bassist James Genus and drummer Ben Perowsky, Douglas stretches out compositionally and as a soloist. Much of what he writes and plays is reminiscent of the work of Don Ellis (the far too unacknowledged trumpeter-composer-bandleader who died in 1978 at 44), stretching traditional forms without losing touch with the flow and swing of the mainstream. The critical praise for Douglas may be a bit excessive, but there’s no denying his growing potential as an innovative jazz artist.

Tenor saxophonist Mark Turner hasn’t yet received the accolades Douglas has, but he too has the capability to emerge as an influential figure. In “Ballad Session” (***, Warner Bros.), Turner takes on one of the most difficult tasks for a jazz improviser--a program of slow, mostly romantic tunes. It is a particularly daunting chore for a relatively young player (Turner is 34), especially during an era in which the ability to deliver nonstop reams of rapid-fire, fast-fingering playing has been a virtual rite of passage.

But Turner, for the most part, honors both the melodies and the lyrical meanings of familiar tunes ranging from “I Loves You Porgy” to “All or Nothing at All.” In addition to the standards, he adds lovely renderings of more offbeat material, including Wayne Shorter’s “Nefertiti,” Herbie Hancock’s “Alone and I,” Bobby Hutcherson’s “Visions” and Paul Desmond’s “Late Lament.”

Turner is surrounded by supportive accompaniment provided by various combinations that include pianist Kevin Hays, guitarist Kurt Rosenwinkel, bassist Larry Grenadier and drummer Brian Blade. But it is with the most minimal grouping--a trio version of “Skylark” with Grenadier and Blade--that he reveals the essence of his capacity to play ballads with the rich understanding of a veteran jazz artist.