John Richmond with Special Guest Ralph Lalama

John Richmond with Special Guest Ralph Lalama
The Turning Point Cafe
Nyack Jazz Week 2021
Piermont, NY
July 26, 2021

What's so special about a special guest artist? While stints in name bands or a track record as a leader may be sufficient to get the booking and fill some seats, in the end, credentials and the expectations that accompany them don't mean much when the band hits and the artist faces the in-the-moment challenges that constitute live jazz performance. Advertised as "John Richmond with Special Guest Ralph Lalama," the first night of Nyack Jazz Week 2021 marked the return of Lalama to The Turning Point Café, the scene of a couple of the tenor saxophonist's past triumphs. Fortunately for a fair-sized Monday night audience, Lalama, fueled by a group assembled by Richmond, lived up to the billing and then some.

Though one might recognize traces of Hank Mobley, Sonny Rollins and John Coltrane, Lalama's half century in the jazz trenches and diligent efforts at developing a personal sound and conception have paid off handsomely. Substantive improvisations are devoid of virtuosity for its own sake, excessive, mind-numbing volume, and blatantly cathartic climaxes. He comes out swinging without any signs of uncertainty, strain, or clutter. A rich, full, somewhat gruff tone provides the edge, but it's only part of the story. Beginning with "I Hear A Rhapsody," the set's opening selection, the bite of his sound served as a gateway to a steady stream of cogent ideas. Throughout "I Mean You" Lalama spoke with authority and drew from the support of the rhythm section. During his portion of a ballad medley, eloquent embellishments enhanced the melody of "These Foolish Things (Remind Me Of You)." Lalama's soulful, R & B side surfaced during a spirited workout on "Fungii Mama."

Lalama's efforts were supplemented by a first-rate band. Over the course of the thirteen seasons of Jazz at The Turning Point Cafe, Richmond has held his own in the presence of heavyweight tenors such as Walt Weiskopf, Doug Webb, and Jerry Weldon, and this night was no exception. "I Mean You" contained a variety of pithy phrases and throughout "Sweet and Lovely" he consistently found winning ways of navigating the tune's bridge. Bassist Bill Moring, a long-time member of bands organized by Richmond, provided a rock-solid foundation from start to finish. Alan Farnham is the kind of pianist who would make a great fit in any mainstream jazz ensemble. He absorbs everything that goes on around him, and comps in a manner that supports and stimulates the soloists. An improvisation on "I Hear A Rhapsody" featured a series of sprightly single note lines and chordal interludes. Eliot Zigmund kept solid time and stayed on top of slightest permutations in the music. Throughout the set he displayed a knack for changing dynamics on a moment's notice and often found ways of enhancing Lalama's, Richmond's, and Farnham's lines with an accented stroke or two to the snare or tom-toms.

The performance came to an end with a feisty rendering of "Take the Coltrane." Relatively brief solos by everyone in the band yielded to a long series of trades between and simultaneous blowing by Lalama and Richmond. Their heated, conversational exchanges were an ideal way to cap off a brilliant set.

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