Some debut recordings encapsulate all of an aspiring artist's diverse interests; others are less ambitious, and merely document a particular ensemble or performance. The Eleventh Hour, an expansive tour de force by rising drummer Jonathan Blake, is a prime example of the former. Blake's successful merger of styles should come as no surprise; in addition to sideman gigs for Kenny Barron Kenny Barron
b.1943
piano , Tom Harrell Tom Harrell
b.1946
trumpet and the Mingus Big Band Mingus Big Band

band/orchestra , he is the son of violinist John Blake John Blake
b.1947
violin —his roots run deep.

Part of the success of The Eleventh Hour can be attributed to Blake's considered balance between the stalwart contributions of his working group and a handful of all-star guest appearances. Blake's quintet features tight-knit personnel; tenor saxophonist Mark Turner Mark Turner
b.1965
sax, tenor and altoist Jaleel Shaw Jaleel Shaw
b.1978
sax, alto make an intrepid frontline, while pianist Kevin Hays Kevin Hays
b.1968
keyboard and bassist Ben Street Ben Street

bass round out the energetic rhythm section. Their high profile company includes Harrell, Robert Glasper Robert Glasper
b.1978
piano , Gregoire Maret Gregoire Maret
b.1975
harmonica and Tim Warfield Tim Warfield

sax, tenor , whose distinctive contributions enhance, rather than overshadow, the band's capable efforts.

The retro title track demonstrates the validity of Blake's collaborative ideas, drawing from a liberal jazz tradition that offers insight into his all-inclusive aesthetic. Reminiscent of Herbie Hancock Herbie Hancock
b.1940
piano 's mid-1960s experiments, the groovy opener pits Maret's sinuous harmonica against Glasper's shimmering Rhodes, generating a kaleidoscopic array of tone colors that evoke a soulful hybrid of Toots Thielemans Toots Thielemans
b.1922
harmonica and Stevie Wonder Stevie Wonder
b.1950
keyboard .

Framed by memorable melodies, tuneful swingers like the stately "Rio's Dream" and lyrical "Time To Kill" are indicative of the record's scope, their elastic rhythmic and harmonic foundations providing ample freedom for probing individual statements. The tortuous intervals and shifting time signatures of the blistering piano-less quartet number "Of Things To Come" raises the energy level, while the evocative "Freefall" ventures into more abstract territory.

Blake revamps convention on the labyrinthine "No Left Turn" and funky "Clues." The former composition features a riveting tenor relay between Turner and Warfield, who navigate the same serial 12 tone row as John Coltrane John Coltrane
1926 - 1967
saxophone 's "Mile's Mode." The later piece inverts Thelonious Monk Thelonious Monk
1917 - 1982
piano 's "Evidence," yielding a quixotic theme both familiar and alien.

Though the majority of the date is comprised of originals, a handful of tastefully rendered covers illuminate the leader's expressive range. In addition to a sensitive interpretation of Randy Newman's ballad "Dexter's Tune" and a buoyant version of Harrell's "Blue News," a lush reworking of Glasper's pop-savvy "Canvas" concludes the session much as it began—highlighting the spirited rapport between Maret and Glasper.

Beyond his abilities as a composer and bandleader, Blake is an authoritative and incisive drummer whose infectious energy galvanizes his sidemen, without overpowering the proceedings. His exhilarating contributions reinforce the clarity and cohesiveness of The Eleventh Hour, a most compelling debut.

Track Listing: The Eleventh Hour; Rio's Dream; Blue News; Dexter's Tune; Time To Kill; Of Things To Come; Freefall; No Left Turn; Clues; Canvas.

Personnel: Jonathan Blake: drums; Jaleel Shaw: alto saxophone (1, 2, 5-7, 9); Mark Turner: tenor saxophone (1-4, 6-10); Kevin Hays: piano, Fender Rhodes (2-4, 7-9); Ben Street: bass; Tom Harrell: trumpet, flugelhorn (3, 5); Gregoire Maret: harmonica (1, 10); Robert Glasper: piano, Fender Rhodes (1, 5, 10); Tim Warfield: tenor saxophone (8).

Record Label: Sunnyside Records

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