Billy Hart - All Our Reasons (2012)

2010-08-19T13:19:54Z

Billy Hart - All Our Reasons (2012)


1. Song For Balkis	12:50	
2. Ohnedaruth	6:03
3. Tolli's Dance	5:27	
4. Nostalgia For The Impossible	5:51	
5. Nigeria	6:30
6. Duchess	7:52	
7. Wasteland	7:08
8. Old Wood	1:42	
9. Imke's March	5:48

Mark Turner – tenor sax 
Ethan Iverson – piano
Ben Street – double bass
Billy Hart - drums

In 2003, this group was called the Ethan Iverson/Mark Turner Quartet. Master drummer Billy Hart asked if he could borrow the band's name as his own for a show in his hometown of Montclair, New Jersey. The other members -- who also include bassist Ben Street -- voted to name it for him permanently. They recorded their well-received Quartet for High Note in 2005, and have played together live whenever schedules permit. All Our Reasons was recorded in June of 2011 in New York; it marks Hart's debut as a leader for ECM. His "Song for Balkis" opens the album with a brief but animated drum solo primarily on tom-toms, before he is joined by Iverson and Street; finally Turner enters in what develops as a shimmering, elliptical yet melodic exploration that feels more like a group improvisation. Iverson's "Ohnedaruth" begins with an extended piano solo before the band enters at the halfway point and deftly executes the pianist's extrapolation of themes inherent to John Coltrane's "Giant Steps." (The tune is titled after the late saxophonist's adopted spiritual name.) Hart's gorgeous cymbal work and propulsive bluesy swing drive "Tolli's Dance," with compelling work from Turner. Speaking of Turner, his "Nigeria" is a canny investigation of a Sonny Rollins number with the title reversed. It's a fine example of 21st century post-bop harmonic interplay with all the swing and fingerpopping intact. Set closer "Imke's March," by Hart, begins and ends with a whistled melody that he used to call his daughter in from the playground. Iverson makes the most of the melody, using his signature sense of diatonic lyricism and developing the theme in increments with Turner stating each new development. Street holds it taut as Hart uses cymbals and snare to "dance" around the trio, while keeping the thematic "march" sense throughout. All Our Reasons is wonderfully executed, and full of excellent tunes, nice improvisational turns, numerous surprises (many of them subtle), and a warm, lively sense of engagement throughout. ---Thom Jurek, Rovi

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Billy Hart Quartet ‎– One Is The Other (2014)

2019-08-13T13:20:02Z

Billy Hart Quartet ‎– One Is The Other (2014)


1 	Lennie Groove	6:50
2 	Maraschino	5:51
3 	Teule's Redemption	7:21
4 	Amethyst	8:06
5 	Yard	5:07
6 	Sonnet For Stevie	8:43
7 	Some Enchanted Evening	5:19
8 	Big Trees	4:14

Double Bass – Ben Street
Drums – Billy Hart
Piano – Ethan Iverson
Tenor Saxophone – Mark Turner

The Billy Hart Quartet's One Is the Other follows All Our Reasons, its noted debut for ECM, by less than two years. In one sense, this set shows the group's growth (they've been together since 2005), and picks up where AOR left off, but more importantly, it reveals the more disciplined and inquisitive dimension of its collective persona, even as it revisits some tunes from its members' pasts. Opener "Lennie's Groove," by saxophonist Mark Turner, was recorded much earlier in Turner's career. Due to its complex harmonic and rhythmic components, it has subsequently become a workout classic for other jazz musicians. Pianist Ethan Iverson attacks the knotty lyric as if simultaneously playing all the dubbed parts of an unreleased tune from Lennie Tristano's Descent Into the Maelstrom. As Turner enters, he twins these lines before moving toward Iverson contrapuntally. Ben Street's bassline reveals the bridge between the bop and post-bop in the exercise while Hart shifts gears in tandem, accenting the ever-shifting meter. On Iverson's "Maraschino," the blues are the entryway into collective improvisation that remains commonly focused. Hart's brushes not only accent and color the front line's flourishes, but offer a map back to the center. The drummer's "Amethyst" was the title piece of one of his earlier albums but is revisioned somewhat here. Its original melody -- which retains its lyric beauty -- is made more blocky here, Turner first, then Iverson, find its dark undercurrent. Hart rolls and breaks around their dialogue. Street engages as an interlocutor and interpreter, while Hart allows the three to dictate his fluid, articulate movements as the tune opens. Turner's "Sonnet for Stevie" may be written for Stevie Wonder, but it's fueled more by restraint, color, and texture than funk or R&B. Street's opening bassline and the clipped rolls by Hart introduce a bluesy head, with Iverson extrapolating on them. He finds a lithe lyric inside and begins to slowly bring it out. Group statements remain brief on each chorus until Iverson's solo finds the seam, and his upper register chord voicings become bell-like. Turner sticks close to the blues, while Hart breaks on them in a painterly fashion. One Is the Other is the sound of an experienced and deeply intuitive quartet speaking in a colorful and precise language comprised of numerous dialects and approaches to musical speech. ---Thom Jurek, AllMusic Review

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Billy Hart - All Our Reasons (2012)

Billy Hart Quartet ‎– One Is The Other (2014)