This Time, Bobby Short Lets His Fingers Do the Talking

****

BOBBY SHORT

“Piano”

Surrounded By

Listeners tend to think of Short as the ultimate cabaret singer, but his jazz piano chops are top-notch, as he reaffirms on every track of this beguiling, small-group recording. As if to emphasize the point, Short doesn’t sing a note on the first two cuts of “Piano,” instead relying on his characteristically poetic keyboard touch and an ability to reshape a melody in more ways than one might imagine. The sense of rapture he conveys on an extraordinarily introspective version of “Memories of You,” the exotic harmonic terrain he explores on “‘Round Midnight” and the gentle dance tempo with which he rewrites “Isfahan” only could have been conceived by such an original sensibility. Of course, once Short begins to sing, there’s no resisting the ardor of his delivery or the distinctly smoky quality of his voice. But, ultimately, “Piano” stands as a testament to Short’s achievements on his instrument of choice.

****

CHICAGO UNDERGROUND DUO

“Axis and Alignment”

Thrill Jockey

Granted, the brilliant Chicago Underground Duo would not exist without ideas and innovations laid down by the Assn. for the Advancement of Creative Musicians, or AACM, a groundbreaking musical collective that has been flourishing in Chicago and beyond since the mid-1960s. But to their great credit, multi-instrumentalists Chad Taylor and Rob Mazurek have built distinctive music of their own on a foundation created by the bands of the AACM. You can hear it in the free-form, abstract tone poems that define this recording, and on the key riffs and ostinatos that often hold together seemingly anarchic improvisations. Although Taylor plays mostly percussion and vibes, he also picks up the guitar, while Mazurek, a cornetist, dabbles in piano and electronics. Together, they create a startling range of sounds, textures and colors, some original to this disc. Although this recording will not appeal to the most conservative tastes, listeners with open ears will revel in the freedom, energy and utter unpredictability of the Chicago Underground Duo’s music. Even at their most hard-driving, Mazurek and Taylor take pains to keep the music unpretentious, translucent and thoroughly inviting.

***1/2

DIANE DELIN

“Talking Stick”

Blujazz

The violin has a long and distinguished history in jazz, with players such as Stephane Grappelli and Eddie South conceiving deeply personal approaches to the instrument. Yet few young musicians turn to the jazz fiddle these days. That makes Delin’s recording particularly welcome, for in this disc she announces herself as one of the more promising young violinists to swing into view in years. A melodist to the core, Delin is not afraid to linger over a phrase on American pop standards such as “Beautiful Love” or “If I Should Lose You,” nor does she refrain from producing an ineffably sweet and buttery tone. Yet for all its lyric poetry, this recording never becomes maudlin or sentimental. Whether leading her jazz quartet or luxuriating in orchestral accompaniments, Delin produces improvisations of considerable style and unmistakable integrity. If Delin still has a way to go to match the virtuosity of a young jazz fiddler such as Regina Carter, this recording nevertheless proves that she’s swinging in the right direction.

***1/2

CHICAGO BLUES

PIANO MASTERS

“8 Hands on 88 Keys”

The Sirens

It isn’t often that four Chicago piano virtuosos convene for a marathon recording session, but this one must have been a riot, judging by the sheer fervor of the performances. Each artist sounds unlike the rest, with Barrelhouse Chuck laying down relentless boogie rhythms, Detroit Junior accompanying his fat piano chords with lusty moans and cries, Pinetop Perkins luxuriating in unbelievably slow and sultry tempos, and Erwin Helfer ripping through blues, boogie and jazz numbers at a breakneck pace. The music-making becomes practically symphonic when two artists share a track, as in the explosive “Pinetop’s Blues,” with Helfer slamming two-fisted chords while Barrelhouse Chuck sings, shouts and thunders for all he’s worth.

*

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