Peter DiCarlo: The Other Side

On "The Other Side," Peter DiCarlo plays a repeated figure that reminds one of John Coltrane trying to find "Giant Steps." Nonetheless, DiCarlo is an alto player, and more in the vein of Marc Russo or someone out of Tower of Power than a typical post-bop alto player. The figure, the shape and pacing of which reappears in "Fluffy Cloud," brings the entire weight of DiCarlo's band, which just happens to be Turkish, and based in Istanbul.

But if someone is seeking a touch of "Blue Rondo" for local color, it is not evident. Indeed, "Yesterday's Tomorrow" opens with a quote reminiscent of the "Moonlight Sonata," although the piano's drift into a minor tonality brings a sort of mournful, exotic quality that might otherwise seem to be pulled from somewhere East. Most of DiCarlo's writing—and this is mostly a recording of originals—has that quality. For deja vu: pianist Uraz Kivaner has that quality, very familiar, yet somehow not. And quite a display of two-handed piano he puts on in "Ever You Need Me." DiCarlo reenters to resolve and restate the theme. An effective device it is indeed. Just when the basic framework seems established, DiCarlo works into a straight, nearly stomping blues in four. One must pay attention: the recording is full of twists and turns to keep the listener's ears on their feet, so to speak. What makes the outing compelling is the blend of familiar and not-so-familiar, harmonies, tempos, styles, upper-register shouting and just enough blues to keep matters interesting. "Last Morning" is a straight-out shuffle that recalls "Moaning" without ever spelling it out. The rhythm section is more than capable.

DiCarlo is a product of Rutgers, Columbia and the New York metropolitan area. The phenomenal endowment of musical talent in New York is a gift to the rest of the world. Like Istanbul, Turkey. To paraphrase Phil Woods, you may not have to go to New York to find terrific players, but clearly, a New York experience does not hurt one bit. Di Carlo raves about the small but lively jazz scene between Istanbul and Izmir, and points out that modal music and a certain very well known brand of cymbal have a distinctly Turkish heritage. No argument, because these guys have the chops and sensibilities to make the music all you want to hear.