Peter Davenport: Bolide

Peter Davenport's Bolide is the sort of album that often flies completely under the radar. It's what record collectors call a private issue; completely self-produced, self-distributed and available on a very small scale; generally only through the artist. Nevertheless, Bolide is a worthwhile listening experience. While not a familiar name to me prior to hearing this album, Davenport's past and present musical associations include the bands Bluth and Mobscene, as well as various projects with Jim Beard, Bill McHenry, and Jerome Harris. What attracted me to this release was the band that Davenport assembled to play his original music; it's full of ringers. Violist Mat Maneri, bassist Ed Schuller and keyboardist Russ Lossing, all familiar names to AAJ's loyal readership are all top-drawer, first-call guys on the greater New York scene. As expected, they deliver in spades throughout this fine little album. Saxophonist Chris Bacas, while somewhat lesser-known, proves himself their equal, as does composer / drummer Davenport.

Though both Maneri and Lossing play the electric variants of their instruments through much of Bolide, the music is more plugged-in avant-leaning modern jazz than jazz-rock or fusion. Useful reference points would be John Handy's late 60's quintet with Michael White and Mike Nock, or the band that sprang from Handy's organization—the Fourth Way. As a drummer, Davenport has a light touch; often splashing around like a cymbal-happy Paul Motian, though when he drives the band more aggressively, he sounds a bit like Joey Baron. He gets excellent support from the ever simpatico Schuller, whose muscular bass consistently drives the music forward.

Davenport's compositions are substantial, as well. "Suite #1," the album's longest piece starts out as a loping acoustic modal jazz vehicle. After a brief free improv section, the pace quickens as Bacas (on tenor) and Maneri duke it out over Lossing's roiling electric keys. "The Lip," "Alfred," and the title track all have tricky, convoluted melodies followed by near-relentless, somewhat off-center ostinatos over which Lossing, Bacas, and Maneri improvise furiously. Bacas' mellow, reedy soprano shines brightly on "Alfred," while Maneri takes full advantage of the solo space offered on "Low Blow." Lossing's playing is particularly impressive throughout Bolide. His acoustic piano solos on "The Lip" and "Suite #1" combine the rhythmic acuity of McCoy Tyner and Herbie Hancock with the harmonic depth of Bill Evans and Ran Blake. Yet, somehow, he doesn't really sound like any of those guys. Unlike a lot of pianists, Lossing really enjoys his electric keys, applying effects and continually tweaking his sound in an uncannily expressive way during his solos on "Alfred," and the title track.

As with a lot of self-produced albums, the sound could be a little better and the mix a little clearer on Bolide, though the compositions and performances are spot-on.