Ran Blake & Dominique Eade: Roots & Byways

For a pianist whose prodigious recorded legacy goes back to the 1960s, Ran Blake has only rarely deviated from his preferred settings: solo albums and duos with vocalists. While his Short Life of Barbara Monk (Soul Note, 1987) is arguably one of the finest quartet records of the 1980s, and his Sonic Temples (GM Recordings, 2001) is a superb later trio effort, he has for the most part been largely content to limit himself to more intimate contexts, especially with talented singers such as Jeanne Lee, Christine Correa and, more recently, Sara Serpa and Dominique Eade.

His first two records with Eade, Whirlpool (Jazz Project, 2011) and Town and Country (Sunnyside, 2017), offered compelling readings of the American songbook, both within and outside standard jazz repertoire. Now on Roots & Byways, the duo explore similar terrain, with plenty of personal inflections that allow the pair to put their stamp on these time-honored musical statements.

Blake has never been a pianist to rely on dazzling chops for his appeal, and that is perhaps one of the reasons for his great success in working with vocalists, as he knows the importance of complementing, but not overpowering, his partners. Although his characteristically intriguing harmonic choices are here in abundance, and his bright bursts of tonal color can still surprise—listen to his lovely solo rendition  of "You Go to My Head" for proof—he is often content to let Eade's dusky alto do the heavy lifting, with Blake occasionally gently prodding or opening up new avenues for the vocalist. And as most of the album stays in a pensive, melancholy vein, this is all to the good, with fourteen brief vignettes (not counting Blake's two solo pieces) which allow Eade to sketch her pieces succinctly and powerfully with Blake's empathetic support.

Her sinewy take on Duke Ellington's "Mood Indigo" has a subtle jauntiness, with Blake's prancing accompaniment adding spirit to the tune; and Max Roach's "Mendacity" has an edgy yet timely relevance in addressing political corruption, with Eade's feisty delivery matching the lyrics' potent anger and Blake's vigorous shards channeling it. But Frank Campo's "Grey December" and Charles Mingus' "Portrait" are more typical, as Eade's rueful reflections bring a wistful aspect to the material, and Blake excels in providing additional color, often saying a great deal with just a few well-placed notes.

There is no question that Eade and Blake bring their best work to the jazz standards, with Thelonious Monk's "Pannonica" and Mary Lou Williams' "What's Your Story, Morning Glory" receiving lovingly-rendered treatments which showcase Eade's willingness to take risks with a melodic line. But as with Town and Country, a good deal of the music here ventures well outside conventional jazz parameters, whether it is Leon Payne's country classic "Lost Highway," Michel Legrand's "Watch What Happens," or "Saving All My Love for You," the ballad Whitney Houston made famous. Irrespective of the source material, however, what unites the duo's approach is a dedication to honoring all of this music on its own terms, with sensitivity and care. The fact that these musicians can tease out as much emotional content from "On Top of Old Smokey" as they can from Henry Mancini's "Dreamsville" helps one appreciate the artistry and craft found on Roots & Byways.