Ben Wolfe: Unjust

The history of modern jazz contains only a handful of bass players who have both led their own groups and been visionary in their compositions and approach. Charles Mingus, Charlie Haden, Dave Holland, Jaco Pastorius and Christian McBride are those who come to mind. With the release of his 10th album, Unjust, Ben Wolfe shows he belongs in that group.

Wolfe began his musical career as a classical bassist and studied at the Peabody Conservatory of Music in Baltimore. In the mid-1980s, he moved to New York City and quickly became an in-demand jazz musician. He apprenticed with several prominent musicians, including Wynton Marsalis, Harry Connick, Jr.. and Diana Krall. He was also a member of the Jazz at Lincoln Center Orchestra for several years.

Wolfe is known for his virtuosic playing, a strong sense of swing, and melodic sensibility. He has been praised for his ability to integrate the traditions of jazz with contemporary styles and sounds, and for his contributions to the development of modern jazz. This album showcases all these facets as well as a keen sense of composition (he wrote all twelve tracks) and a strong sense of texture in his arrangements.

The set kicks off with "The Heckler," where Wolfe sets a torrid pace while Joel Ross plays an eerie, thematic vibes that allow the soloists to take off. The effect is almost film-noir. "Hats Off To Rebay" has something like an Ornette Coleman/Charlie Haden feel with Wolfe walking the bass underneath.

The variety on this record is tremendous. From the straight-ahead bop of "Bob French" (a tribute to the famous New Orleans drummer and WWOZ radio host) to the tender ballad, "Lullabye in D," featuring the wonderful Nicole Glover on tenor with her big, breathy sound. "The Corridor" is a vibes, bass and drums tune that conjures up the Modern Jazz Quartet. "Mask Man" is a hard-driving neo-bop composition showcasing Wolfe's virtuosity. The title track is a tune that evolves into and revolves around the Charlie Parker song "Confirmation." The album closes with "Reprise (Credits)" featuring piano, vibes, bass and drums. It is a beautiful ballad and a lovely way to end a masterful release.

The band Wolfe has assembled for this record is excellent throughout. At times the interplay between trumpeter Nicholas Payton and Immanuel Wilkins on alto sax is reminiscent of the interplay between Booker Little and Eric Dolphy as well as Don Cherry and Dewey Redman. Aaron Kimmel on drums plays with subtlety and empathy throughout.

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