Alex McLaughlin: A Brand New State

After spending years as a performer and educator, bassist Alex McLaughlin has recorded his first album, A Brand New State, on which he leads an able quartet whose front-line spokesperson is the renowned trumpeter Jeremy Pelt.

At the insistence of its initiator and producer, drummer Ulysses Owens, Jr., the album comprises eight of McLaughlin's original compositions, which was either a splendid idea or an unintended misstep, depending on one's point of view. As is true of most professional musicians who also compose, McLaughlin writes well, and his songs do have insight and stories to tell. In other words, they are by any yardstick quite satisfactory but seldom ascend far beyond that.

And as the session rests on that harmonic foundation, it too is respectable while at the same time lacking the sort of ingenuity or impetus that could raise it appreciably above the herd. That is not meant to devalue McLaughlin, who is no doubt writing and playing to the best of his ability, nor his teammates—Pelt, pianist Jeremy Siskind and drummer Tina Raymond—talented artists all—who lend McLaughlin unflagging support. Together, they ensure a smooth and trouble-free excursion.

Pelt sits in on every number save the jaunty "El Polvo," which, by coincidence or not, is arguably the album's high point, employing a strong rhythmic compass to support impressive solos by all hands. Raymond is especially persuasive, trading heated licks with McLaughlin and Siskind—who is eloquent in his own right whether improvising or backing the others. Pelt brings insight and experience to the table, soloing about as well as could be expected on every occasion (including a muted statement on the easygoing "Signals").

Even though it is by no means a classic, A Brand New State rests moderately above the norm, thanks largely to the McLaughlin quartet's diligent efforts to understand and appreciate the task at hand and do their best to lend it substance and spirit.