Josh Lawrence: Measured Response

Art Hirahara's brief, cryptic solo piano intro to "Where Do We Go?," the opening track of trumpeter/flugelhornist Josh Lawrence's album, offers little indication of what immediately follows: Lawrence's warm-toned, delectable horn surrounded by relaxed, straightforward, middling-tempo swing courtesy of bassist Luques Curtis and drummer Rudy Royston. This intriguing transition sets the stage for a recording that establishes a loose continuity amid changes in mood and temperament.

Measured Response encompasses an impressive stylistic reach. "A Tragic Tango Comedy" sports a wily, jittery vibe. "Prelude To A Farewell (For Barry Harris)" is a deeply felt ballad tribute. Different kinds of spirituality are inherent in Charlie Haden's "Song For The Whales" and John Coltrane's "Wise One." The juxtaposition of a heavy booted stomp and aggressive, fast-moving swing animates "Every Choice Comes With An Invoice."

Because Lawrence's strikingly original compositions and the contributions of a brilliant band refuse to take a back seat, his solos are not the record's centerpiece. Nevertheless, he is a remarkable trumpet stylist. Lawrence possesses an elegance and a purity that remains intact even during the more forceful passages of the fast-moving "Flip On A Drip" and "Every Choice Comes With An Invoice." He sounds fully invested in each song and assumes the character of someone speaking plain, unvarnished truths. The melody of "Wise One" and the brief solo that follows convey ample emotion and earnestness while offering the impression of holding something in reserve. As elsewhere, his turns on "Stony Mountain Mist," "Between The Lakes" and "Texas Tenor" convey a certainty that never feels arrogant or self-absorbed.

Pianist Art Hirahara, tenor saxophonist Diego Rivera and Royston, who have significantly impacted many of Posi-Tone's projects, are essential in elevating Measured Response above the commonplace. Like Lawrence, Hirahara assumes a distinctive, credible identity on each track. He has a knack for seizing a tune's raw materials and incorporating them into something of his own. The patient, gradual evolution of "Stony Mountain Mist" delivers one fresh insight after another. He burns, almost without pause, on "Flip On A Drip," generating a powerful momentum while digging into Curtis's firm, edgy bass line.

Rivera's appealing, medium-weight tone leaves room for other voices and serves as an agreeable vehicle for solos long on the intelligent accumulation of detail and devoid of drama for its own sake. He has a penchant for building carefully, turning up the heat by craftily emphasizing a phrase or two, and before one knows it, has moved into another, more assertive phase. His elegant work in the early stages of "Where Do We Go?" evolves into long, complicated passages that do not sound out of character because his tone stays true. "Texas Tenor" says a lot in only thirty-two bars, yet the ideas are spread out enough to allow the listener to savor the particulars.

Royston offers more than a few less-is-more commentaries besides his customary, daring, highly interactive drumming. On the vigorous side of the ledger, well-timed, chopping accents fuel the mile-wide, slow-to-medium tempo swing of "Wise One." Conversely, one of his most memorable moments on the record is the whisper of the snare and cymbal outlining a steady pulse and adding a touch of spice to the early stages of "Stony Mountain Mist." Later in the track, during a pause in Rivera's solo, he lodges multiple snare strokes at a low dynamic level, making an impression that barely registers in consciousness.

From start to finish, Measured Response is highly recommended.

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