By Glenn Astarita

Simply put, the musicians who comprise the, Jazz Composers Collective are rapidly becoming some of the most sought after session or "project based" musicians in jazz. Whether performing as an aggregation in featured projects such as Ben Allison's Third Eye or under the auspices of the Herbie Nichols Project , the JCC are in the process of assembling a formidable recorded legacy. We now take a peek at four concurrent, and superb new releases from members of this Collective -

* Visit the Jazz Composers Collective website: http://www.jazzcollective.com

As we celebrate four new releases from the respective members of the "Jazz Composers Collective" along with Allen Huotari's insightful (All About Jazz - Nov '99) interviews with constituents of the Jazz Composers Collective, we commence the festivities with the new release by "The Herbie Nichols Project", titled Dr. Cyclops' Dream".

Featuring charter members of the Jazz Composers Collective, the "Herbie Nichols Project" is an ever-evolving project devoted to interpreting and more importantly breathing new life into the poignant compositional legacy left behind by this truly adventurous pianist/composer. Recognition and fascination with Nichol's short-lived body of work has gained momentum over the years, no doubt heightened by the band who bare his name. Here, the band continue their path first launched on their 1997 debut, "Love Is Proximity". From Allen Huotari's Nov' 99 interview, the Jazz Composers Collective state the following: "In the current ensemble…Nichols' music lives with a fresh angle. By realizing the music for horns, the ensemble guides the music in new directions"...and as Ben Allison states from the same interview ..."Many of the tunes on the CD were previously unrecorded. We found a bunch of lead sheets at the Library of Congress, most were bare sketches with no indications as to tempo or dynamics". The opener, "Bartok", is one of these pieces where the band brainstorm the dynamics and tempo while devising a suitable or appropriate arrangement which perhaps presupposes Nichols intentions as the band convey a modernistic approach. Here, the band offer a melodic yet peppery and lush horn arrangement offset by a fervent mid-tempo swing. Pianist Frank Kimbrough restates the melody through various intervals, harmonies and swirling clusters as the affable theme resurfaces atop shifting tempos, enhanced by drummer Tim Horner's hybrid Latin/Jazz pulse. The title track, "Dr Cyclops Dream" features thoughtful well-stated tenor saxophone work in conjunction with a somewhat pensive horn arrangement which may infer - wonderment or fascination. On this piece, lucid imagery shrouds the imagination via brassy yet ever so subtle choruses from the brass section as they implement unison lines and crafty tremolo techniques. Ted Nash' sprightly and joyous alto flute performance rides the wave of a bouncy, vivacious arrangement on "Valse Macabre". Trumpeter Ron Horton dishes out some tasty "wah-wah" style licks while utilizing his mute on the hip and congenial "I've Got Those Classic Blues" which is a 12 bar blues performed as a duet with drummer Tim Horner. "The BeBop Waltz" was a Nichols composition originally recorded by the great pianist Mary Lou Williams along with saxophone legend, Don Byas. Here, pianist Frank Kimbrough and trumpeter Ron Horton render a lovely and passionately executed duet while tenor saxophonist Ted Nash blows furiously over hard Bop-ish lines on "Riff Primitiff" as the band enter the red zone with an arrangement that - jumps right at you. A sense of dynamics prevails on all accounts as the rhythm section of Allison and Horner put things in full gear, which serves as a foundation for abundant soloing amid darting choruses from the horn section leading to an explosive finale.

Dr Cyclops' Dream is an impressive work while we could safely imagine that Herbie Nichols would be proud of these men if he were alive today. "The Herbie Nichols Project" are -in tune- with Nichols' often amazing yet under recognized repertoire as they seemingly possess the patent on Nichols' contributions to jazz. Dr Cyclops Dream' is not a tribute recording by any means. As a band,"The Herbie Nichols Project" capture the proverbial spirit while putting an indelible stamp to the music of a man who during his tenure in jazz was often overshadowed by others, which to this day remains somewhat of a mysterious or forlorn notion. Here, the New York-based Jazz Composers Collective take the music of Herbie Nichols into the twenty-first century as his music lives on through the eyes and ears of this estimable bunch!

Personnel: Frank Kimbrough; Piano: Ben Allison; Double Bass: Ron Horton; Trumpet, Flugelhorn: Ted Nash; Tenor Saxophone, Alto Flute & Bass Clarinet: Michael Blake; Tenor & Soprano Saxophone: Tim Horner; Drums.

Black Saint website: www.blacksaint.com - E-mail: irecspa@tin.it

Jazz fans have a reason to celebrate with the advent of the new OmniTone jazz label. Coinciding with Frank Kimbrough and Joe Locke's superb Saturn's Child we have Genius Envy which showcases the monstrous talents of trumpeter/composer Ron Horton. Here, Horton along with fellow Jazz Composers Collective artists, bassist Ben Allison and pianist Frank Kimbrough join forces with the estimable soprano saxophonist Jane Ira Bloom. Horton is touted as a musician's musician emanating from his fine work as a top-flight session musician and his integral involvement with the JCC. On Genius Envy Horton shines as a formidable composer, arranger and leader while acting as a catalyst of sorts for what is most assuredly a "group" effort. The beat on the street, especially in New York City was the anticipation of Horton's debut effort for OmniTone as we also get a glimpse of rising stars, tenor saxophonist John McKenna and drummer Rich Rosenzweig.

The opener, "Carla Blake" opens the door for Horton's - right of passage - as a leader. On this piece Horton displays his intelligence and compositional savvy via this refreshing yet probing arrangement enhanced by the melodically tinged and quite soulful tenor work of solo artist and session musician, John McKenna. On "Long-Term Memories", bassist Ben Allison establishes the driving pulse as Horton slips into some smooth, sharp soloing within the mid to upper registers as sprightly choruses from McKenna and Horton emphasize the quirky yet appealing melody. "For Thomas Chapin" commences as a moving almost solemn ballad featuring Ms Bloom's gorgeous utilization of vibrato integrated with passionate, deeply moving articulations. All in all, a heartfelt tribute to the late and sorely missed jazz saxophonist-composer. Horton and Ms Bloom are the "impressionist" painters on the composition titled, "Stark Winter's Day" as they captures vivid images of a pastoral setting which could be somewhere in the Northeast on a cloudy, calm and cold day. Pianist Frank Kimbrough adds verve and elegance on Horton's composition titled, "Embrace" while Horton's "Genius Envy" is frantic, intentionally unsettling as McKenna, Bloom and Horton trade darting lines via alternating solos and rich thematic statements supplemented by furious unison runs with the force and fury of a big band. "Happy and Out of it (on the Beach)" lies somewhere between hard funk - Horace Silver style bop and affable or lighthearted Herb Alpert and the Tijuana Brass pop as the band occasionally veer off center which amplifies the fun and excitement.

Besides Horton's technical accomplishments as a soloist, Genius Envy serves as a good indicator of this man's multifaceted approach as a leader and composer. Not difficult to discern why Horton is highly respected within jazz circles. Genius Envy is mood evoking, poetic, cool, spirited and sure to capture the hearts of many jazz aficionados. Fortunately, jazz fans are now afforded the opportunity to hear the individual talents of the mighty conglomerate known as the Jazz Composers Collective....

Personnel: Ron Horton; Composer, Trumpet & Flugelhorn: Jane Ira Bloom; Soprano Saxophone: John McKenna; Tenor Saxophone: Frank Kimbrough; Piano: Ben Allison; Bass: Rich Rosenzweig; Drums.

OmniTone Website: www.OmniTone.com

We are enamored with the absolutely stunning duet performances by much in demand vibist Joe Locke and a man who seemingly possesses the skilled hands of a surgeon behind the keys, pianist Frank Kimbrough.

Saturn's Child is a striking foray into supremely intuitive interplay and lush melodicism via charming and bittersweet phraseology coupled with the duo's sensitivity, compassion and mutual "musical" respect for one another which is evident from the opening moments of Frank Kimbrough's composition, "727". Light, airy thematic statements by Locke who is rapidly becoming one of the top session musicians in jazz besides a successful solo career rides the crest of the wave atop Kimbrough's rhythmically inclined left-hand chord voicings. Here and throughout, Kimbrough and Locke engage their thoughts and demonstrate uncanny synergy as they delicately articulate sleek, smooth passages which are at times, somber, pensive and in many instances, spiritually uplifting. Joe Locke's "Saturn's Child" features a poignant yet zestful theme through clear well stated unison lines as if the song was truly intended to be a bedtime lullaby. Locke's serene "Trouble Is A Gorgeous Dancer" features a catchy melody all with a touch of class and finesse as the gentlemen alternate solo chores while ultimately converging to restate the endearing and quite memorable theme. Here, the recurring motif serves as a bridge for Kimbrough's inspiring and somewhat ethereal ruminations, displaying artful use of harmonics, tremolo and conveying somewhat of a majestic presence. These men perform as though they were seeking that ever elusive - "pot of gold", mainly from a musical and/or artistic standpoint. Perfection seems attainable on Saturn's Child as the story evolves on Kimbrough's "Waltz For Lee" while the duo create an affable, positive groove over a simple waltz motif. Lush romanticism on "Empty Chalice" and - ever so soft - poetry in motion on the light-as-a feather ballad "I Still Believe (In Love)" are magnetically appealing and further indicate the duo's powerful compositional skills. Accolades aside, Saturn's Child may be the logical heir to Chick Corea and Gary Burton's momentous and critically acclaimed "Crystal Silence" outing on the ECM label. Kimbrough and Locke have created a sparkling gem here...Saturn's Child is music of a higher order, a colossal effort!!...

OmniTone Web: www.OmniTone.com

Personnel: Frank Kimbrough; Piano: Joe Locke; Vibraphone

Frank Kimbrough website: http://www.mastura.com/frank

Joe Locke website: www.jazzcorner.com

A charter member of New York's Jazz Composers Collective woodwind specialist Ted Nash steps out on his own and following suit with fellow JCC members, shines as a composer and arranger while displaying a keen ear for nuance, melody and lyricism. Along with a string quartet and assistance on two tracks from trumpeter-composer and sometimes employer Wynton Marsalis, Nash has turned in a solid set of originals further enhanced by immeasurable support from fellow bandmates of the JCC and "Herbie Nichols Project". On Rhyme & Reason, the "Ted Nash Double Quartet", is a finely tuned music machine, led by Nash' multifaceted horn work along with on-target ensemble work and brisk arrangements.

From the first few moments of Nash' "Apollo 9", we are treated to a melodic, yet thoroughly hip string arrangement, bright upbeat choruses, a strong swinging pulse and invigorating solos from Nash, Marsalis and violinist Miri Ben-Ari. "Spirit Dance" is an uplifting Nash composition featuring melodic passages from the string quartet atop a straight four pulse with a few samba motifs tossed in for a pinch of diversity! Here and throughout, the string section provides the tonal balance, continuity and motion and serve as a perfect match within the context of Nash' body of work. "Longing" is somewhat somber and lush and at times chamber-like all enhanced by Nash' pensive and adept performance on clarinet. Wynton Marsalis chimes in on the viscous post-bop piece titled, "Sisters" as violinist Miri Ben-Ari pushes full steam ahead with a furious, no nonsense violin solo. Here, Nash soars skywards boasting a large, meaty sound coupled with fierce well executed hard bop-phrasing on tenor sax while ultimately trading fours with drummer Tim Horner. Nash' burning tenor work on "Ishtar Gate" is underscored by the string section who counterbalance the themes and converge in unison with Nash, providing drama, tension and contrast. As a soloist, Nash is quite adept at reworking the melody lines and seems well versed with ethnocentric modal and harmonic concepts as heard on the final piece titled, "The Trails" which features a lovely and enticingly melodic Asian motif . Here, Nash' sonorous and deeply moving work on alto flute incites an aura or mystique of perhaps mystical attributes or qualities. All in all, a splendid finale to an extremely impressive release. Rhyme and Reason has staying power! Nash' ability to entertain and sustain interest lies within his sharp arrangements, memorably melodic compositions and strong leadership qualities. Razor sharp soloing and ensemble work aside, Rhyme & Reason offers the complete package as it all sounds so natural and effortless. No doubt, 1999 has been a remarkably exceptional year for jazz. As we approach the millennium on a bright note, the folks who comprise - the Jazz Composers Collective have provided us with a crop of extraordinarily fine recordings whether performing as an ensemble or enthralling us with these superb solo outings.

Personnel: Ted Nash; Tenor Sax, Clarinet & Alto Flute: Frank Kimbrough; Piano: Ben Allison; Bass: Tim Horner; Drums: Joyce Hammann; Violin: Miri Ben-Ari; Violin: Ron Lawrence; Viola: Tomas Ulrich; Cello: Erik Charlston; Vibes & Percussion

Arabesque Recordings: www.arabesquerecords.com