Drummer Aaron Binder’s good fortune must be ascribed in part to his ability to draw into his orbit musicians of the caliber of trumpeter D’Earth, saxophonist Decker, bassist Fitzsimmons and especially pianist O’Brien, a seasoned veteran and leader in his own right who has a large hand (two, actually) in ensuring the success of Binder’s second album (the first, This Side of Jazz, was recorded in 1997 with the same personnel except for O’Brien). In appraising that earlier endeavor, we wrote that it was “a well–played concert by earnest young men who are investing heart and soul in the music,” and the description applies here as well, although this is a studio session with the added benefit of O’Brien’s considerable pianistic artistry. Binder wrote two numbers on that earlier album, four on this one, and really hits his stride with “Ruffians,” a hard–boppin’ cooker that reminds one of the legendary Clifford Brown / Max Roach Quintet from the mid–’50s, and his explosive Jazz Messengers–style communiqué, “Firecracker.” They are preceded by Binder’s bluesy “Black and White Sound” and ballad “Wasted Breath” and followed by D’Earth’s punchy “Everyday Tune” and the seldom–played but nonetheless charming Arthur Schwartz / Leo Robin composition, “A Gal in Calico” (a showcase for O’Brien’s tastefully swinging piano). While D’Earth and Decker are relatively unknown one shouldn’t hold that against them, as each is a talented bop–centered improviser with plenty of interesting phrases in his notebook. D’Earth, who teaches at the University of Virginia, derives his inspiration from the Freddie Hubbard / Lee Morgan / Donald Byrd school of free–spirited capering, Decker from Gene Ammons / Dexter Gordon / George Coleman. Binder’s influences are more difficult to ascertain, but Art Blakey is surely one of them (as he is most of today’s bop–style drummers) and Max Roach also comes to mind, especially on “Ruffians,” on which Decker evokes memories of Brown / Roach’s stalwart tenor, the late Harold Land (who was replaced in the group by another fairly well–known reedman, Sonny Rollins). Binder’s earlier recording was quite enjoyable; this one is even more so, thanks to a number of impressive charts, O’Brien’s forceful presence and emphatic blowing by everyone else. Fortune does indeed seem to be smiling on Aaron Binder.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
You Can Help
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
