Mark Sherman: Bop Contest

Vibraphonist and composer Mark Sherman has long been recognized as one of the music's most articulate advocates for straight-ahead values, grounding his virtuosity in the clarity and craftsmanship that define the bop lineage. Bop Contest, his 2025 release, continues that tradition with poise and conviction. Surrounded by a top-tier rhythm section comprising pianist Donald Vega, the legendary bassist Ron Carter, the exuberant drummer Carl Allen, and guest trumpeter Joe Magnarelli, Sherman delivers a program that balances reverence for the canon with personal expression. The album was recorded at the legendary Van Gelder Studios in Englewood Cliffs, NJ.

Sherman opens the album with Oliver Nelson's rarely-heard "111-44," a number whose brisk, angular lines demand both precision and élan. The ensemble responds accordingly. Sherman's vibraphone rings with flawless articulation, and Vega's playing exudes elegant bop fluency. Beneath them, Allen and Carter offer that unmistakable blend of buoyancy and drive, the kind of rhythmic confidence that only decades of shared language can bring. Sherman's wordplay composition "Love Always Always Love" shifts the mood toward a more reflective lyricism. Though cast in a modern frame, the tune maintains a melodic integrity. Sherman's lines shimmer, and Magnarelli's warm tone adds depth without disturbing the tune's delicate balance. Carter has a brief intervention, living up to his accomplishments.

There are a pair of Cedar Walton compositions, beginning with "Bremond's Blues" and followed by "Martha's Prize," each of which feels especially fitting given Sherman's preference for clean, harmonically rich structures. The first is a reharmonized variation of the blues form that encourages the band to stretch out. Sherman's vibes deliver a clarity of attack, as Vega enters with an unbroken stream of notes. Carter's bass is a masterful example of economy and propulsion, while Allen's tasteful drumming offers the perfect backdrop. The second is a lesser-known gem from Walton's catalogue, performed by the band with a respectful, unhurried feel. Sherman's phrasing makes a subtle nod to Milt Jackson, yet remains distinctly his own.

The title track, "Bop Contest," is a bebop burner that Sherman approaches with a craftsman's sense of lineage, developing a theme that nods to the brisk angularity of early bebop while weaving in his own sly harmonic twists. Sherman's solo is filled with crisp lines and rhythmic energy, while Magnarelli responds with a bold, brassy statement, followed by Vega's quick, beautifully shaped chorus. The track ends with a joyful display of virtuosity and swing as Sherman, Vega, Magnarelli, and Allen engage in a spirited exchange of solos. The final piece is the Johnny Mercer-Hoagy Carmichael classic "Skylark." Here, Sherman performs a dream-like piano-vibes duet, capturing the tune's wistful quality with poetic restraint, bringing the album to a graceful, contemplative close.

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