Thomas Linger: Out In It

Any pianist who can enlist the sort of blue-chip rhythm section which Thomas Linger has for a debut album must be not only talented but unselfish, which is precisely the case on Out In It; Linger is accompanied by a trio of seasoned New York-based jazz luminaries, guitarist Peter Bernstein, bassist Yashushi Nakamura and drummer Joe Farnsworth. Even though Linger is the nominal leader, he makes it clear from the outset that this is a quartet, one in which everyone is given leave to do what he does best to develop and strengthen the group dynamic.

That does not mean Linger’s voice is softened; he and Bernstein comprise the group’s melodic keystone, and Linger solos splendidly on every number, the first eight of which he also composed. In fact, he and Bernstein are two of a kind: earnestly contemporary but never heedless of the time-honored jazz tradition, blending those ingredients into a fresh and attractive medley. On a timeline, it would be difficult to articulate an era for either of them, as they use bop, swing and other influences to accomplish their musical purpose. Nakamura and Farnsworth are unfazed by any variations, as they have the deftness and chops to play well in any context. Linger’s opening theme, the ambling “Can’t Say It,” which brings to mind the Lovin’ Spoonful’s pop hit, “What a Day for a Daydream,” sets the tone, with sharp solos from Bernstein and Linger, and exemplary comping by Nakamura and Farnsworth. “Night Ride” is smooth and pleasant, as is “Mercurial Behemoth” (on which Nakamura adds his solo voice). The tempo slows on “Incantation,” then accelerates on “A Lovely Encounter” and “Out In It,” the catchy melody of which parallels a long-ago theme—possibly written by Horace Silver—whose name has been withdrawn from the memory bank.

The slow-moving and meditative “Linger’s Lament” is next, followed by the leader’s final composition, “Crystal Cave,” Billy Strayhorn’s plaintive “Lush Life” (recorded at a different time and place and performed by Linger alone) and Art Farmer’s neatly-grooved “Woofin’ and Tweetin’.” To say that Linger’s recording career has begun on the right foot would be an understatement. Out In It is an impressive debut, thanks in part to Linger’s special talents as a writer and player, and perhaps even more so to those of his supporting cast who help raise its profile beyond respectable to admirable