Many musicians, who begin their careers in pro-gressive
territories, eventually settle down into tra-ditionalism.
The word “settle” implies the end of
any creativity, and is unfortunately often accurate.
Mark Elf's new album
Dream Steppin’ has successful-ly
avoided this pitfall, adding an inspired and
energetic volume to the straight jazz guitar oeuvre.
Elf has come years and miles since his begin-nings
in the early 70's with the likes of Heiner
Stadler and Grachan Moncur. Yet this progression,
that has been happening over Elf's recordings for
his own Jen Bay Records, is not tired nostalgia. It is
music played with genuine affection and spirit and
chock-full of lively Elfin melodies.
Elf is in the somewhat envious position of run-ning
his own label and having the opportunity to
record often and without constraints. Dream Steppin’,
his ninth release since 1993, is recorded with two of
Elf's associates from previous recordings, Neal
Miner on bass, and Lewis Nash on drums. With the
recording clocking in at just under an hour, fans of
Tal Farlow, Grant Green and even Pat Martino, will
have plenty of strong material to enjoy.
Throughout the 13 tracks, Elf and his associates
play with an inventiveness so often lacking in
straight jazz today.
The title track has an astounding intro theme
which Elf and company use to jump off for a strik-ing
solo section. “Loved Again”, a swinging, medi-um-
paced lullaby, features supple single lines by
Elf, particularly during the drum breaks. “Oye
DNA” recalls Pat Martino's mid 60's work for
Prestige. “Rhymin' for Simon” is the burner of the
set. The fleet melody instantly insinuates itself into
one's ears and the feverish pace of Elf's solos begs
for the repeat button on the CD player. On two
tracks, “America” and “Have You Met Miss Jones”,
Elf's marvelous technique is displayed unaccompanied.
While even the mention of the term “straight
jazz” will instantly turn some people off, Elf's latest
offering dispels the notion that the mainstream has
no relevance or vitality. Dream Steppin' quite simply
is good music by a great musician and should
be appreciated by all for whom that is important.
This review first appeared in the May 2002 issue of All About Jazz: New York .
