Chris Smith: Jazz Grunge

"Grunge," according to Webster's, denotes "one that [who] is grungy." As for "grungy," the word meets one of several definitions, none of them flattering: dirty, filthy, stained, nasty, muddy, smudged...you get the idea. "Grunge" also has a second meaning: "rock music incorporating elements of punk rock and heavy metal," which is the one that New York City-based drummer and educator Chris Smith has singled out for replay on his debut recording, Jazz Grunge.

While that may seem an odd choice for someone whose resume includes time spent with the Vanguard Jazz Orchestra, Bob Mintzer, Dick Oatts, Randy Brecker and other typically straight-ahead artists, Smith professes a special fondness for grunge albums of the '90s and what he sees as their "genuine artistic vision." Using that concept as a starting point, he reasoned, why not add jazz to the mix and see what fresh images that amalgam can produce?

What, indeed. On the one hand, the music—all original compositions, presumably from grunge's heyday in the '90s and onward—is about as grungy as Smith would want; on the other, he and his quintet have added some trim jazz touches along the way, mostly in the guise of engaging solos by alto saxophonist David DeJesus, tenor Jure Pukl and guitarist Christopher Pawluk. There is even a grungy flag-waver of sorts, the rapid-fire "Go Lonely Woman" (on which alto and tenor solo strongly, as does Pawluk, while Smith and bassist Peter Slavov keep the rhythm flowing in a nasty grunge-based manner).

The session's five vocals are rendered nicely by Valerie Costa, whose fondness for and ties to grunge are evident in her grubby manner. Or perhaps she has simply listened to an abundance of grunge and assimilated its tone and nuances. Whatever the reason, Costa sounds suitably grungy—as does everyone else, when not soloing in a more straight-ahead vein, as DeJesus and Pukl do on several occasions. As for Smith's premise, he is probably right; grunge could have been (and in this case, is) enhanced by a sporadic infusion of jazz.

Even though Smith's heart is in the right place, the music maintains its grungy framework, which from a jazz standpoint is less than agreeable. Grunge fans may love it, jazz detours and all, as it is neatly designed and performed. The music has its moments, and everyone is happily on board for the ride. Hence three stars for the musicianship alone.

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