Bill O'Connell: Live In Montauk

A rhythm section which includes Santi Debriano and Billy Hart is nothing if not part of a potential dream band. In Craig Handy, one finds a post-bop saxophonist who played with virtually everyone worth hearing over the last third of the twentieth century. For a variety of reasons pianist Bill O'Connell may be a little less well known outside the New York City metropolitan area, but his signal contributions to Latin jazz with Dave Valentin, Jerry Gonzalez and Mongo Santamaria are familiar to devotees. So, perhaps a live session from Montauk, Long Island, which includes "Moanin'" and "One Finger Snap," may be just what is required to reach a wider audience. As O'Connell himself says, he is not getting any younger, so now is the time, as it were. Randy Brecker leaves his mark on a couple of tracks as well. The result is a distinctive, high excitement take on some familiar material interwoven with originals, but one which really moves. This is a very good recording and, with a live audience at Gosman's Dock in Montauk, one which generates lots of excitement.

Randy Brecker launches into "Do Nothing till You Hear From Me," only to give way to Handy, whose descending figure embroiders a sort of montuno. The ensemble then takes the out chorus with everyone getting a taste. "Sparks" is a burner with Craig Handy simply elbowing everyone and everything aside, inviting McConnell to catch up and take off under Billy Hart's insistent prodding. Hart's blistering solo follows. Then Debriano closes matters out. Next comes a very different Latin take on "Moanin." Hard not to like! WWBTD (What would Bobby Timmons do), one thinks? "No Rhyme or Reason" is an O'Connell original, thoughtful, and reflective, an elegant outing which contrasts with "Moanin." It is an ample vehicle for O'Connell's piano stylings, with an intervention from Handy bubbling up once more. Whatever one thinks of "One Finger Snap," it will not recall Herbie Hancock and Freddie Hubbard, which is just fine, even if form and the underlying melody are still there. "Ripty Boom" is by Santi Debriano, a feature which may well blow out the bottom of your sound system, but small matter. It takes an interesting turn after Debriano solos, and someone, in the band perhaps, laughs out loud at the close. Speaking of closing, that would be "Tip Toes," with Brecker and Handy again at some tempo well north of Mach 4. Not that any of these people have anything to prove, but just in case, they do.

O'Connell's program is varied, a bit unconventional, but recognizably very good jazz indeed. There is so much good playing here that it is rather difficult to overstate the case for its excellence. This is one of those sizzling live recordings which inevitably situates post-bop in a New York context. Pity the provincials who wonder what they are, after all, missing. Whatever this recording is, afterglow it is not. Anyone who enjoys a bop rhythm section and a smoking front line will find a lot to like here.

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