Thimo Niesterok: Stepping Forward

During his studies at Hochschule für Musik und Tanz Köln, Thimo Niesterock rapidly acquired a reputation as a talent with which to be reckoned. A disciple of Warren Vache and Clark Terry, Niesterock situated himself 'within the tradition,' a trumpet player not another trumpet athlete: 'this week's squeak is next week's note.' Good Heavens he is musical. On ballads and muted numbers, he rolls his notes like Vaché. And if his lines are pretty, but somewhat less imaginative than the player he calls his "hero," Niesterok never ceases to surprise and fascinate.

Mostly he is low key, but when he decides to punch his way, shouting, into the upper register, his debt to Terry is immediately apparent. Niesterok is, obviously, some kind of technician, but the technique serves to advance musical ideas, rather than just act as a sterile display of chops. For admirers of swing players, Niesterok is just what the doctor ordered. He draws on the Great American Songbook for the majority of his material, but does so with creativity and flair. There are some originals, such as "Stepping Forward," "Night Stroll," and "Home." They all subsist within well-established harmonies and changes. If a listener is looking for someone who plays outside, he or she is in the wrong place.

After listening to a great deal of pointless melodic and harmonic experimentation from other up-and-coming younger players, it is wonderful to again find someone who respects a nice melody. It is, dare one venture, not exactly a sin.

Favorites here include "Come Rain or Shine" and "Pennies From Heaven," once staples of improvisation, but now somewhat old-fashioned tunes. With an excellent band to accompany him, Niesterok shows that a player with taste, technique, and imagination—as well as pretty good ears, shows that there is plenty of life in the older repertoire. Pay attention. Niesterok can only get better, and people in the international jazz community should be listening carefully. He is a logical successor to players like Vaché or Scott Hamilton who came up in the late 1970s. Good jazz is not dead, although often asleep.

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