Willie Morris: Unbound Inner

Willie Morris's third release as a leader for Posi-Tone opens with the haunting "Flyover Country," which only includes the leader's tenor saxophone and pianist Jon Davis. Combining improvisation and Morris's earnest, subdued theme, the two-minute 25-second gem doesn't declare any particular stylistic allegiance, nor does it clamor for attention. Instead, Morris's and Davis's partnership evokes a pristine stillness and wistful melancholy yet is purposeful enough to get under one's skin. The track is a refreshing, counterintuitive way to launch a record that, as a whole, references and transcends the bop/hard bop/post-bop continuum.

Although Morris contributes seven attractive original compositions and offers different dimensions as a soloist throughout the record, Unbound Inner doesn't come off as a mere showcase for his talents. A band of Posi-Tone regulars invigorates a diverse program in supportive, assertive and idiosyncratic ways. (It is worth mentioning that tastefully interactive rhythm sections are a staple of the label's releases.) Time and time again, they fashion a loose, supple confederation, each player contributing a significant piece of what is needed to make the music whole.

The group deftly executes lyrical, reflective restraint throughout Morris's ballad "Charade." Particularly noteworthy is the interaction between Davis and vibraphonist Behn Gillece before Morris's brief solo, in which they overlap in a manner both subtle and empathetic. Taken at a pace that sounds like the band is running a two-minute mile, "How To Get Away With Murder" features a series of brief, overlapping trades between Morris, Davis, and Gillece.

"The Folks Who Live Down The Hill" delivers off-kilter yet accessible jazz funk powered by Boris Kozlov's boisterous bass line and crackling snare accents by Rudy Royston. While Davis, Kozlov, and Royston assert themselves from different angles, Morris withstands the pressure and blows long, cogent solo lines. The group's treatment of Davis's "Into Somewhere" epitomizes medium tempo swing that doesn't try too hard to make an impact.

As bold as a neon sign, Kozlov's bass sings out a repeated, multi-note figure during the first chorus of Gillece's solo on a blues, "What's Expected," the record's final track. And there are tantalizing "wait for it" moments during the first four choruses of Morris's solo before Kozlov makes good on his promise to start walking.

Although Morris has not yet received widespread acclaim, his three records as a leader encourage high expectations for the future. A combination of high-quality material, groups of musicians that genuinely sound like bands, and a significant voice as an improviser are characteristics the releases have in common. It is safe to say that Unbound Inner is not the last step in Morris's artistically fruitful journey.

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