Zen Zadravec: New Paradigm

While there are few new wrinkles on Canadian-born pianist Zen Zadravec's album, New Paradigm, neither is there anything to mar this well-wrapped post-bop session comprised of eight of his generally bright and pleasing compositions and arrangements.

Zadravec leads what is essentially a sextet (three-horn front line and rhythm), mixing things up by adding a guitar on three tracks, wordless vocals on two. Guitarist Tom Bartelmay is especially impressive on "New Paradigm" and "Do or Do Not, There Is No Try." Alto saxophonist Todd Bashore is present on every number, as is tenor Dominic Bierenga (soprano on "In Memoriam"). Mike Pope is the bassist and David Alvarez III the drummer on the first seven tracks. Pope is replaced on the last number ("The Warrior's Code") by Nick Calandro, Alvarez by Travis Aukerman.

As for Zadravec, he apparoaches the piano (or keyboard) the way he writes—with an abundance of awareness and enthusiasm—much like his mentors who include Chick Corea, Herbie Hancock and Kenny Barron. Zadravec's opening themes—"First Impressions," "Seeking Spirit"—are straight from the hard-bop playbook: fast-paced flag-wavers that seldom give the players—or listeners—room to unwind. John Douglas is the trumpet soloist on "First Impressions," Derrick Gardner on "Seeking Spirit," complementing percptive statements by Zadravec, Bashore, Bierenga, Alvarez and Calandro.

Bell adds his voice to the multi-hued "Rebirth" and well-grooved "New Paradigm," which lead to the graceful "Love Letter" and earnest "In Memoriam," the last written to honor Irene Zadravec (mother? sister?). Zadravec dedicates the entire album "to the memory of [his] father, Jozef Zadravec." The tempo quickens again on "Do or  Do Not," underscoring agile solos and exchanges by Zadravec, Bierenga and Bashore, and remains there through much of "The Warrior's Code," following Zadravec's gentle piano intro. Douglas returns to the lineup to furnish one last impressive solo.

Hard-bop enthusiasts—and those who get their kicks simply from robust and well-played contemporary jazz— should find much to uncover and appreciate in Zadravec's New Paradigm, which may not set any standards but certainly does not impair the image of reliable new-model jazz.