Eric Krasno / Stanton Moore: Book of Queens

Released in 2023 with next to no fanfare, the very gestation of the Eric Krasno/Stanton Moore Project's first effort carries a cachet all its own. Recorded at Levon Helm Studios in Woodstock, New York, and mixed by Jim Scott (Tedeschi Trucks Band, Wilco), Book of Queens is tribute to women in music wherein the nine covers offer homage to the work of musical cons such as Nina Simone, Peggy Lee, and Aretha Franklin as well as contemporary figures of note like Sharon Jones & the Dap-Kings and Kacey Musgraves.

At the same time, thanks to keyboardist Eric Finland, it is a paean to the well-established instrumental concept of guitar/keyboards/drums rendered bonafide jazz tradition by the iconic likes of Jimmy Smith and Grant Green. The slinky opening number, Amy Winehouse's "You Know I'm No Good," sets an inviting tone on both fronts, subsequently reaffirmed for the duration.

"Nobody's Baby" illustrates how co-founder and long-time Soulive/Lettuce guitarist Krasno meshes with Moore, figurehead of Galactic and Garage a Trois. At the same time, the duo's tightly-knotted bond encompasses the accomplished Finland: the three instrumentalists are virtually of equal prominence in the arrangements, yet never collide or intrude upon each other. That combination of humility and self-awareness in play is almost as impressive as the technical skills.

It is thus little surprise that empathy abounds when the trio welcomes guests in the persons of saxophonist Branford Marsalis ("Fever") and pedal steel guitarist extraordinaire Robert Randolph ("I Wish I Knew How It Feels To Be Free"). The unselfish attitude also prevails with the integration of Cory Henry's synth work on Brittany Howard's "Stay High: the former keyboardist of Snarky Puppy demonstrates an affectionate and unaffected devotion to the song, its author and his accompanists.

"Slow Burn" exemplifies how the mixing by the aforementioned famed engineer Scott highlights the no-frills arrangements and musicianship on Book of Queens. Recorded by Brendan McDonough and subsequently mastered by Paul Blakemore, the realism of the sonics brings to the fore a latent spontaneity that permeates cuts like "Lost Cause;" the quick turnarounds and the pinpoint cold-stop suggest that the band might well have just been jamming for the fun of it and serendipitously happened upon a groove to share.

The two principals of the Krasno/Moore Project co-produced this project and were wise to sequence Goffin/King/Wexler's "A Natural Woman" near the home stretch of these nine cuts. The knowing placement of a selection so familiar not only retains the pace, (and the novice jazz listener's attention), but also allows Krasno, Moore and Finland some more snappy, intuitive interplay based on their own comfort with the changes.

Not that it unfurls much more effortlessly than H.E.R.'s "Carried Away." But the threesome radiate a special pleasure in reaffirming their common interest(s) in style, a sensation that to a greater or lesser degree, pervades the thirty-five minutes playing time (the ideal duration for two sides of vinyl LPs, graphics of which are reproduced on CD jacket in less than optimum design).

Still, by the time em>Book Of Queens concludes, the nagging thought occurs that no genuine intensity has arisen within these performances. The musicianship is thoroughly warm throughout, but never actually turns hot, begging the question of whether Krasno and Moore—and to a much lesser extent Finland—are too often overly polite in their otherwise healthy deference to each other.

Perhaps if there is a sequel to this title, it will be recorded in a live setting where an audience can spur the musicians on to that higher level of power their chosen material (and their own admirable pedigree) demands and deserves.