Steve Johns: Mythology

Over the past twenty years, drummer Steve Johns has appeared dozens of times in various venues and configurations throughout Northern New Jersey and the Hudson Valley, New York area. To name but a few examples, Johns with guitarist Bob DeVos's trio at Trumpets Jazz Club, in sessions led by bassist Mark Hagan at the Old 76 House, and in a series curated by tenor saxophonist John Richmond at The Turning Point Café—all small, intimate venues—enabled listeners to see and hear every stroke, unmediated by recording technology and the presence of producers and record companies. These nights are essential in discovering the individualistic qualities of a musician who operates within recognizable, modern jazz practices.

Johns' drumming encompasses several virtues that add up to a substantial whole. Although he is an assertive player, dynamics are key to his approach to the instrument and the music. You can always hear the bassist amidst Johns' sticking and brushwork; ensembles and soloists are never overwhelmed by the impact of his clipped, strategically placed accents and fills. The compatibility between practiced sticking and the fastidious tuning of the kit makes each drum speak clearly and musically. On Johns' watch, the music's time never turns uncertain or mushy, in part because of his ability to listen to and bond with bassists. In particular, the agility, depth, and authority of the swing generated by him and bassist Bill Moring has inspired many a soloist and is a joy to behold.

For those who do not have the opportunity to experience Johns in live performance, Mythology is a fine introduction to his considerable talents as a composer, bandleader, and drummer. He composed five of the disc's 11 tracks and includes tunes from his side men, guitarist John Hart, pianist Greg Murphy and bassist Joris Teepe. The material ranges from swinging straight-ahead jazz to collective free improvisation to a couple of songs originating outside of the band, featuring the vocals of Monte Croft, who plays vibes and, on one track, harmonica. Regardless of the tempo, time signature or type of groove, Johns and Teepe lay down a foundation that sounds certain but not obdurate or inflexible.

Melodies of nearly all the songs are catchy, well-crafted and weighty. For example, Johns' "Sapphire" and Teepe's "In My Humble Opinion" include enjoyable waltzing themes. A couple of exceptions to strictly straightforward material include Teepe's intricate "Our Time," a rousing and thought-provoking showcase for the leader's brushes and sticks, and Rich Shemaria's multidimensional treatment of Eugene McDaniels' 1960s protest song, "Compared To What." The record contains an abundance of articulate emotionally cogent improvisations by all hands, yet it is the antithesis of a blowing session. The chemistry between Hart, Croft and Murphy on the heads—check out "In My Humble Opinion"—and often, during the solos, adds a layer of complexity without turning fussy or academic.

Although Johns' breaks and solos are not the focal point of Mythology, it is a pleasure to hear him stretch out in ways not always included in live sets. For nearly two minutes in the middle of "Our Time," he displays discipline and invention by responding to and interacting with brief, spread-out, percussive themes reconfigured from Teepe's composition. Then, he continues by digging deeply into a vamp with strokes of varying velocity and density. Long smartly-executed multi-stroke eruptions, which sound like they are growing out of a vamp, juxtaposed with clipped phrases are entirely in character with "Compared To What," a song containing anti-war and reproductive rights exhortations. And Johns gets the last word on the title track, beginning a post-head solo with brusque funky rhythms over Teepe's bass, then gradually becoming more effusive and complex while the rest of the band, one by one, judiciously joins in. It is a fitting way to conclude an excellent record.