Richard Baratta: Another Kind of Bird

Charlie Parker's music has withstood every conceivable tribute. It has been copied, analyzed, celebrated, and occasionally embalmed by its own importance. Imagine the surprise at the release of drummer-percussionist Richard Baratta's Another Kind of Bird, which is not another museum-piece salute to Bird. Baratta and pianist-arranger Bill O'Connell treat Parker's compositions as living, breathing works capable of absorbing new colours, rhythms, and fresh perspectives without sacrificing their lineage.

Baratta expands his customary sextet into a formidable, horn-driven ensemble featuring alto saxophonist Vincent Herring, multi-horn instrumentalist Craig Handy, alto saxophonist Abraham Burton and tenor saxophonist Eric Alexander. Other players include guitarist Paul Bollenback, bassist Michael Coetz and congas and percussion Paul Russman. O'Connell's arrangements make beautiful use of these resources, balancing tightly voiced ensemble passages with ample room for improvisation.

The album opens with "Donna Lee," propelled by Baratta's crisp drumming and the saxophone section's unified attack. Herring's work captures Parker's spirit without imitation, while Alexander's playing adds a muscular modern edge. "Anthropology" follows, with Herring and Handy stating the theme in unison, their lines darting through the changes with precision and authority. Each takes a spirited solo, as does O'Connell, who commands the keyboard with an authoritative touch.

"Ah-Leu-Cha" reunites the full horn section, with Handy's soprano saxophone receiving prominent exposure. Baratta locks into an irregular rhythmic pattern, which suits the front line's improvisations. Bollenback's guitar adds texture beneath the busy horn section.

It would be hard to overstate the impact Charlie Parker had on the course of what is now known as modern jazz. His playing introduced a new musical vocabulary, marked by astonishing technical command, rapid-fire melodic lines, advanced harmonic concepts and rhythmic freedom. His compositions, many of which are featured in this session, became foundational texts for generations of jazz musicians.

The sole standard in this release is George and Ira Gershwin's "Embraceable You," a welcome change of mood. Here, the band showcases its lyrical side. After some opening grace notes from Bollenback, Herring runs through the melody with elegance, while O'Connell shapes the number with warmth and restraint. Overall, it is an emotionally affecting performance. Returning to bebop lines, "Now's the Time" swings with a robust, funky groove driven by Baratta's kit coverage. Herring, O'Connell and Bollenback enfold the theme with ingenuity and surprise.

"Yardbird Suite," with its 32-bar AABA form, became something of an anthem for beboppers. Staying close to Parker's melodic framework as the baseline, Herring, O'Connell and Bollenback nevertheless improvise with fluency and creativity, opening new pathways for the piece.

The closing track, "Au Privave," features Herring and Bollenback stating the theme in unison, thereby bringing together the album's strengths. The rhythmic vitality, inventive arrangements, and superb musicianship confirm that Baratta understood that Parker had changed jazz by challenging convention. The most fitting tribute is not replication but continued exploration.