Andrew Toombs: Alloy

There is an ancient proverb that says, "A man is judged by the company he keeps." By that measure, pianist Andrew Toombs should be judged very highly indeed. For more than two decades, he has helped shape the path of American popular music, collaborating with artists as diverse as Dave Brubeck, Benny Golson, Bootsy Collins, Carole King, Kenny Rogers, Yolanda Adams and DJ Jazzy Jeff.

Having absorbed the influences of jazz, soul, blues, country and hip-hop, Toombs now steps forward as a leader, bringing these disparate styles together on his (very) long-awaited debut, Alloy. Playing piano, organ and keyboards, he once again keeps excellent company, forming a core trio with bassist Junius Paul and drummer Makaya McCraven. Guest trumpeters Maurice Brown and Marquis Hill add further color, while three-time Grammy-winning poet J. Ivy provides the spoken-word centerpiece on "Moodism."

There are nine original compositions, opening with "The Slot," a piece inspired by the natural beauty of Ontario's McGregor Bay. Toombs builds a fresh, contemporary and elegant mood, aided by Hill's trumpet, which weaves through the arrangement. The brief interlude of "Past Souls" is a tribute to those who helped shape Toombs's understanding of funk, particularly guitarist Wilbert Longmire. "Marlou Lane," named after the Cincinnati street where Toombs grew up, is one of the album's highlights. His solo shifts moods, sparkling and cascading as it unfolds.

The album has a wide stylistic range. "Subconscious" ventures into dreamy electronics, set against fast, scampering drums and bass motifs, while "Untangling" offers a balm of electronic pulses and percussion. "Beyond," meanwhile, is what Toombs describes as his "acoustic tribute to electronic music."

For "Moodism," Toombs revisits the hip-hop of the 1990s, providing the setting for Ivy's spoken-word contribution. It is an effective combination, and even listeners with a strong aversion to rap may find themselves won over. Those who remain unconvinced can at least admire Brown's superb trumpet playing.

It must be said, however, that the album is over in a mere 26 minutes. This somewhat miserly running time may explain why the musicians returned to the studio after the main recording session had ended, resulting in the spontaneous jam "Unexpected Party." McCraven's irrepressible grooves make this a highlight, leaving the listener wishing there were more.

Having spent decades shaping the music of other artists, Alloy marks a clear turning point. Toombs makes full use of his wide-ranging experience to forge a strong and personal musical statement where his playing and that of his collaborators ensure that every track connects. More of this would be very welcome.