Roberto Magris Europlane: Il Bello Del Jazz

Good as Geller is, however, he doesn't outshine Magris, bassist Rudi Engel, drummer Gabriele Centis, or (on four tracks) guitarist Darko Jurkovic, and that's saying a mouthful. Even though Geller was playing for the first time with Europlane, the group's cohesion and rapport is quite remarkable, due in large measure to Geller's superb artistry and Magris' unflagging leadership. Besides being an eloquent soloist, Magris is an attentive and tasteful accompanist, as are Engel and Centis. Geller, for his part, is simply awesome, blowing with zest and passion while revealing from time to time traces of his seminal influences, Benny Carter and Charlie Parker. He has a rich, creamy tone that is all his own, and a technique that is equal to any challenge.

The group bows to Carter with Benny's buoyant "Key Largo, to Bird with Magris' busy "Parker's Pen, to Billy Strayhorn with Geller's soulful "Stray Form. Magris also wrote "No Sadness and "Il Bello Del Jazz, Geller "Deception, Al Cohn "Ah-Moore. The four standards are relatively unfamiliar but no less pleasing because of it. They include "Some Other Spring (introduced in 1939 by Billie Holiday), Jerry Ross/Richard Adler's "A New Town Is a Blue Town (from The Pajama Game), Kurt Weill/Alan Jay Lerner's "Here I'll Stay (from Love Life) and Stephen Sondheim's "Pretty Woman (from Sweeney Todd).

Geller is brilliant on every one of them, and Europlane keeps pace whether underscoring his inspired adventures or playing a leading role. Those who may have wondered what ever happened to Herb Geller should be pleasantly surprised. Thanks to his prowess as a navigator, this Europlane really soars.