Willie Morris: Attentive Listening

Attentive Listening, Willie Morris 's second Posi-Tone release in as many years, documents the continuing evolution of a jazz master in the making. Like last year's Conversation Starter, the tenor saxophonist/composer thrives in the stimulating company of alto saxophonist/alto flutist Patrick Cornelius and pianist Jon Davis. Bassist Boris Kozlov and drummer Rudy Royston round out a rhythm section that fuels the record's impressive reach.

Early on, Morris' "Water Fountain Of Youth" and "The Imitation Game" are up-tempo burners in which Davis,' Kozlov's, and Royston's hard, aggressive swing issue a challenge to the horns: Stand tall or risk sounding weak and ineffective. Morris, in particular, gives as good as he gets and makes rousing, coherent statements without any sign of strain or cliche.

About halfway through, the record makes a startling leap forward as Morris and the rhythm section display other aspects of their talents. "Delusion Of Understanding," perhaps the most distinctive of the leader's originals, is a wily hard-bop line crammed with tone, rhythm and emphasis shifts. Davis, Kozlov and Royston manage the tune's contours in various ways. It is never known what is coming around the next corner, but the center always holds. Morris, too, finds various identities in each of the connected segments, managing to sound both adventurous and recognizable in the jazz tradition.

Morris' way with Kenny Dorham's "La Mesha" is a lovely, thoughtful example of how to play a ballad. He caresses the melody, takes his sweet time, and makes every note carry weight. The following solo changes course, waxing playful and mischievous, and expands without abandoning the ballad feel. Kozlov's minimalist bass line speaks clearly and distinctly in a supportive role.

On "Et Tu, Caribou?" Cornelius' exemplary bebop line finds the band, particularly Koslov and Davis, cohering in a classic, straight-ahead manner, somewhat different than any other track on the record. In addition to solos by Cornelius, Morris and Davis, all of whom are fluent in the rhythm changes lexicon, Royston, accompanied by Kozlov's rock-solid walking and Davis' artful punctuation, plays a shrewd chorus of deep pocket time and excursions around the kit.

Davis' "Daly Minor Blues" is a profoundly satisfying way to end the record. While Kozlov and Royston lay out, Morris and Davis converge to introduce another, more collected dimension to the music. One can feel the mutual trust in everything they play. Davis' accompaniment and solo incorporate jazz piano styles from the past and the present. Morris' three choruses impart a somewhat relaxed, nuanced manner of playing the blues.

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