Danny Green: Let the Music Happen

San Diego-based pianist Danny Green began his recording association with Seattle's Origin/OA2 label in 2014 with After the Calm (OA2 Records, 2015), an inspired trio release featuring bassist Justin Grinnell and drummer Julien Cantelm. It was an auspicious beginning. The group followed up their debut with Altered Narratives (OA2, 2016), featuring a string quartet on three tunes before taking the 'string thing' a step further with One Day It Will (OA2 Records, 2018), a full-on piano trio outing with a string quartet sitting in on all 10 tunes.

This piano trio set followed by two outings with strings might have suggested to those of speculative natures that Green's career path could go in two directions: either a trio with a full orchestra, or a solo piano affair. Those who bet on a solo piano outing win. Green goes alone on Let The Music Happen, and he does so with a relaxed and obvious joy for sitting down alone and expressing himself via his instrument.

Every jazz pianist of note, past and present, has recorded solo albums with great success: Brad Mehldau, Keith Jarrett, Jessica Williams, Ahmad Jamal, Red Garland, Fred Hersch, and (though not often enough) Bill Evans. These are all players who took the format to new heights, finding ways to express themselves with unforced integrity and artistic bliss. Let The Music Happen says: "Welcome to the club, Danny Green."

Green with his trio is a showcase for his original tunes. But Let The Music Happen includes five well-chosen covers alongside four of his own distinctive compositions. He opens this album with one of his originals, "Blue Musings," a laid-back rumination that oozes the blues. He sounds enraptured. A quote from his liner notes says it all: "I reflected upon my recent solo piano performances, as well as my time spent on the piano at home. What I came to realize was that some of my most inspired playing happened in the unplanned moments."

Let The Music Happen is a mostly unplanned and inspired musical exploration, perfectly executed and sequenced to make a satisfying, cohesive whole.

The covers are Stevie Wonder's "I Wish," which bounces with joy; the timeless Kern and Hammerstein standard "All The Things You Are," which starts reverently before it leaps into vivacious Green freedom that remains tethered to the source.  "It Could Happen To You," sounds optimistic, a stark contrast to Frank Sinatra's morose, string-drenched treatment on his 1957 Capitol Records album Close To You. "Autumn Leaves," a tune Keith Jarrett played often with his Standards Trio, has, here, a vibrant electric feel.

Now: two items left for discussion: one, Green's originals, and two, the Beatles' "A Day In the Life." 

The originals are first-rate. They do not suffer at all in comparison with the covers, especially his "Gray Day In May," a breathtakingly beautiful, classical music-tinged dirge. Green, home-based in San Diego, must certainly know something about spring in Southern California.

And now "A Day In the Life," a tune that might seem unlikely to succeed as an instrumental and is rarely attempted in a jazz rendition. An exception: guitarist Wes Montgomery 's gorgeous version on his album A Day In The Life (A&M/CTI, 1967). In terms of jazz covers, most of the Beatles' tunes come from the Paul McCartney songbook (though the authorship was credited to Lennon/ McCartney): "Michelle," "I Will," "Martha My Dear," "And I Love Her." Lovely melodies. "A Day In The Life" is about 70 percent Lennon, who, despite walking a half step or so behind his writing partner in terms of melodic grace, had a way with a quick turn of phrasing and interesting bridges. This may be the greatest Beatles song, and Green transforms it into a beatific gem, much as Mehldau did to Lennon's "I Am The Walrus" (again, a seemingly unlikely tune for jazz coverage) on his Brad Mehldau Plays The Beatles (Nonesuch Records, 2023).

Danny Green has created one of the finest solo piano albums of the year.