Afro-Cuban Giants Turn a Folk Sound Into High Art

**** BEBO VALDES TRIO

“El Arte del Sabor”

Blue Note

The great Cuban pianist Bebo Valdes may not be as famous as his son, Chucho Valdes, but the elder musician remains a pianist of at least equal gifts, as this recording attests. Unlike Chucho, whose style always has been grand, sweeping and Herculean, Bebo is a pianist of uncommon refinement, subtlety and control. His elegant pianism perfectly suits the repertoire on “El Arte del Sabor” (The Art of Flavor), which looks back at historic bolero and conga rhythms. But Valdes’ dexterous technique and warmly singing lines are just part of the story, for the pianist is joined by two Afro-Cuban giants who appeared with him in the film “Calle 54”: bassist Israel “Cachao” Lopez (progenitor of the mambo rhythm and leader of Cuba’s famed descarga jam sessions) and percussionist Carlos “Patato” Valdes (no relation, but one of the world’s great conga players). To call this an all-star trio would be an understatement. Better yet, the three players offer tasteful, utterly transparent renditions of extraordinarily complex Cuban dance forms, with guest saxophonist Paquito D’Rivera adding melodic interest to several tracks. In essence, Valdes and the band affirm that even the most folkloric aspects of Afro-Cuban jazz can be expressed as high art.

**** JOHN MCLEAN

“Easy Go”

Premonition

Guitarist McLean has played as a sideman for more than two decades before releasing his debut as bandleader, but “Easy Go” was well worth the wait. Here is the rare jazz guitar disc in which extended solos are avoided in favor of tight-knit ensemble playing and even the most arcane musical ideas are made accessible and appealing. McLean consistently emphasizes the band over the soloist, a smart decision considering the strength of Jim Gailloretto’s muscular reed work, Karl Montzka’s glorious chordal fills on Hammond B-3 organ, Adam Nussbaum’s exuberant playing on drums and Larry Kohut’s unstoppable phrasemaking on double bass. Together, these players nimbly alter their composite tone and texture to accommodate McLean’s compositions, which range from the soulful “Fat Chance” to the menacing “Cowboy” to the introspective “My Brother Richard.”

***1/2 ROY CAMPBELL QUARTET

“It’s Krunch Time”

Thirsty Ear

Brash, radical and innovative, trumpeter Campbell’s newest release defies conventional notions of what an avant-garde recording is supposed to be. Conservative listeners who dismiss today’s experimental jazz as loud and anarchic will be disarmed by the haunting lyricism of a track such as “Tenderness of Spring.” Those who question whether avant-gardists are fully equipped to address the basics of swing rhythm and motivic improvisation will be intrigued by the band’s whimsical reworking of Thelonious Monk’s “Bemsha Swing.” Every cut on this disc, in fact, shows Campbell and the quartet venturing into unexpected terrain, from the sardonic lines of “New Groes for the New Millennium” to a solo “Star-Spangled Banner” that makes Jimi Hendrix’s famous version seem buttoned-down by comparison. Add to this the political subtext of the recording, which unflinchingly addresses contemporary life in America, and Campbell clearly has come up with a major artistic statement.

***1/2 JEB BISHOP TRIO/QUARTET

“Afternoons”

Okka Disk

During the past decade, Chicago’s new-music scene has produced such nationally noted figures as reedist Ken Vandermark and guitarist Jeff Parker. Now trombonist Bishop’s name must be added to the list. Leading his own trio and quartet on “Afternoons,” Bishop and colleagues produce music of tremendous rhythmic energy and high-decibel noise, but also taut swing rhythm and cleverly conceived solos. Theirs is a mercurial, emotionally charged music that draws on everything from free-form ensemble improvisation to carefully voiced duo and trio passages. The recording may not be for those who prefer their jazz light and easy, but listeners willing to confront bracing, challenging ideas will find them in abundance on this no-holds-barred effort.

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Howard Reich is jazz critic at the Chicago Tribune, a Tribune company.