Rob Susman: Top Secret Lab

Trombonist Rob Susman, who is inclined to dwell on the cutting edge of contemporary jazz, remains "out there" for the most part on Top Secret Lab, an album wherein his splendid nonet is challenged by half a dozen of Susman's intricate compositions (and two others) and aces every test without any detectable missteps or errant notes.

The question is whether Susman's blend of old-school funk with more modern design might whet a listener's appetite. And the answer is, it most likely depends on who is listening. There is certainly much to admire, as Susman never leads the ensemble so far "out there" (even on his composition of that name) that the ties to traditional harmony, rhythm and stability are severed, and his charts are invariably well- drawn and accessible.

There are two charts with Latin overtones: "Erghen Diado" and Susman's "Burrito Malo"—and they are among the session's high points, lyrically and rhythmically strong with sharp solos by soprano saxophonist Chris Hemingway ("Diado"), baritone Maximilian Schweiger ("Burrito"), and trumpeter (take your pick) Seneca Black and/or Chris Anderson on both numbers.

"Burrito Malo" leads to "Out There," on which Susman uses the theremin for ethereal effect. Additionally, there are trim solos by tenor Stan Killian and another unnamed trumpeter, underscoring drummer Yuichi Hirakawa's solid funky beat. Susman solos on the session's ballads, "This Time" and "When a Man Loves a Woman," and (with alto Hemingway) on the brassy and strident opener, "Tastes Like Chicken," while Jane Getter's raspy guitar shares center stage with Susman on the stuttering "East Side Infirmary" and "When a Man Loves a Woman."

For what it is, Top Secret Lab is very good. The nonet is on its toes, and Susman's charts, albeit more or less encased, are commendable. A treat for fans of jazz with a definite contemporary preference, in spite of its concise thirty-six-minute playing time.

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