Joey Alexander: Continuance

At some point, even a child prodigy grows up. Now 20 years old, Balinese pianist, Joey Alexander has come long way from the six- year-old exposed to Duke Ellington, Thelonious Monk and Bill Evans, the eight-year-old playing in front of Herbie Hancock and the ten-year-old winning improvisation competitions. It may be hard to believe but Continuance is his seventh release.

Given his age, ability and meteoric rise, expectations are always high, perhaps unfairly so. In his expected progress towards becoming one of the elite names in jazz piano, he seems to have reached the point that improvement is made in smaller incremental stages, rather than the giant steps (no pun intended) of his youth. Or perhaps he is just enjoying the love of making music, having passed the point of needing to prove himself long ago.

For the first time, all the tracks on Alexander's previous album, Origin (Mack Avenue, 2022), were his own compositions. This album builds on that with five self-penned tracks along with two covers. The line-up for this album includes his touring band of bassist Kris Funn and drummer John Davis. They are augmented on four tracks by trumpeter Theo Croker. Teaming Alexander with Croker is a brilliant decision, they deliver powerful and passionate performances combining well and opening up space for each other. Funn and Davis also excel, delivering dynamic rhythmic textures and skillful improvisation throughout.

Opening track "Blue," finds its tight bluesy groove immediately. Croker is fluid and mellow alongside Alexander's immediately recognizable note placement and tone. Funn and Davis break it up before propelling an energetic Alexander improvisation before Croker returns to end a treasure of an opening track. (See the YouTube.) Gentle piano flurries open "Why Don't We." Croker states the melody before moving on to explore, Alexander shows he is no slouch at comping before his splendid solo takes over, and the two leads combine over thrashing drums as the track ends. Alexander adds mellotron to his pulsing piano on the bustling rhythms of "Hear Me." Changing pace mid-way, it opens up space for the impressive Croker to explore before fluid piano runs take over.

Croker makes his final appearance on the cool restrained funk of "Zealously." This finds imaginative rhythmic combinations from Funn and Davis. Alexander switches to Fender Rhodes for this track and immediately seems to miss the gamut of the Steinway. The gentle and melancholic ballad, "Aliceanna," is the final of Alexander's compositions.

There are two covers, both tasteful and well-arranged but perhaps lacking the intensity and verve of the other tracks. "I Can't Make You Love Me," a song by Mike Reid and Allen Shamblin, was a country crossover hit for Bonnie Raitt and was even voted the eighth best track of all time by one music magazine. This arrangement follows the original structure fairly closely as does the version of the often-covered hymn, "Great Is Thy Faithfulness."

Alexander's playing shows energy, together with nuances of touch and tone that have established him as one of the best around. His compositions on Continuance are first rate and the pairing of his band and Croker makes this is a worthy investment for your available listening time.