Bobby Naughton Trio: Live at Charlie's Tap

Today, a number of drummers, including Ches Smith and Kenny Wollesen, also double on vibraphone, underscoring the instrument's fundamentally percussive nature. In the hands of Bobby Naughton, however, the vibraphone functioned as something more expansive: a reimagined piano, capable of both harmonic depth and rhythmic propulsion. Naughton began studying piano at the age of eight, performing classical repertoire before moving on to rock 'n' roll and the organ. It was only after encountering free jazz that he migrated fully to the vibraphone, an instrument that allowed him to integrate structure and freedom in equal measure. Over the course of his career, he worked and recorded with an impressive roster of creative musicians, including Wadada Leo Smith, Anthony Braxton, Roscoe Mitchell, Perry Robinson and Mario Pavone.

Although Naughton was an active participant in New York's loft scene of the late 1960s and 1970s and founded his own imprint, OTIC Records, he eventually withdrew from the city's music scene. In a surprising turn, he took up work as a locksmith. Today, his OTIC releases are highly sought-after artifacts among collectors, and NoBusiness has previously reissued The Haunt (2018), a 1976 OTIC album featuring Smith and Robinson.

Naughton's trio with drummer Joe Fonda released a 1983 live recording Zoar (OTIC, 2001), from Yale University just a year before Naughton passed away. Live At Charlie's Tap presents previously unreleased music by the same trio, captured over multiple nights at a Cambridge, Massachusetts bar in 1985. Although Naughton personally selected these tracks, they were never issued during his lifetime.

Here, Naughton delivers bright, crystalline renditions of his own compositions alongside a piece each by Carla Bley ("Vashkar") and Anthony Braxton ("Composition 23J"). The trio's performances of "Shepaug Strut" and "Housatonic Rumble" evoke the refined lyricism of pianist John Lewis, framed by Fonda's caressing bowed bass and Kaye's roiling yet sensitive drumming. Throughout, Naughton maintains a calm, centered presence. A modern analogue might be vibraphonist Jason Adasiewicz at his most melodic: both musicians can induce a swooning effect through inventive lyricism while retaining an unmistakable avant-garde edge. Live At Charlie's Tap stands as a vital document of Naughton's singular voice and a reminder of how quietly transformative his music remains.

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