Eddie Gomez
Dedication

Good: this is an album that my friend and guitarist (with whom I have undeservedly played for about ten-twelve years) has called “the eighth wonder”. I wouldn't go that far; however, I am sure that, among all the albums I have, this one would definitely be among the top twenty to save in the event of an immediate escape from the hypothetical ship.

There is such a concentration of music, elegance, instrumental and musical competence, references, and nods to tradition, perfectly disguised within a very modern and effective jazz setting that it is truly difficult to put into words the pig-like satisfaction (I can't find a better term!) that a true jazz addict might feel by putting this product in the player.

Stefan Karlsson will hardly leave your mind, and after this listen, you will be left with a mathematical urge to hear and discover more about both Gomez and this Scandinavian pianist, such is the artistic stature of the subjects. Of Jimmy Cobb, one of the historical fathers of the tradition, often in the orbit of the Davis quintet for recordings or concerts and part of dozens of other historical gatherings, as well as still an active witness to the current drumming-percussive development, it can be said that he offers an essential creative percussive support to the whole work, firmly organized by Eddie Gomez, a musician with a brain that... step aside!

1) “On green dolphin street” is rendered with a obsessive, laid-back, and swinging pace (swing low, sweet chariot!) but with an unexpected and delightful tonal jump during the execution of the first part that is on one side ingenious and on the other a very subtle nod to the three notes that Davis modulates in the intro of his classic version. An original reworking. To say the least.
2) “Nardis” by Davis (or Bill Evans? Who knows?) is introduced by a “contrabass solo” in concert style, and right afterward, we are presented with the album’s guest, Jeremy Steig, a flutist of extreme class and a protagonist in his own right of an intense jazz life as well as high-profile collaborations (Gary Burton). He is present on two tracks (2,9). The flute is here played in a swinging and aggressive solo (similar to a golden Jethro Tull!) before giving way to a piano solo that preludes a stellar takeoff of the trio.
3) “Spartacus love theme” is a heartbreaking ballad introduced by a masterful arco-solo by Eddie, who hands over to a fully inspired and intimate Stefan in Evansian style. It is certainly no coincidence that one of the best protagonists of Evans’ middle period has chosen Karlsson; who is not, in turn, just any clone, albeit of quality, but a complete and ingenious musician.
4) “Spider song” begins with a cautious piano solo that is soon joined by the two rhythms in a beautiful triplet rhythm; to enjoy with a sambuca in hand and a cigar in the corner of your mouth. Gomez once again confirms himself as a melodic and creative inventor on the high registers of the instrument, as much as a prepared and humble musician: “...I have just recently been discovering the beauty of the low registers in a contrabass solo...” he said just a few years ago!!! Anyone wishing to discover a beautiful contrabass solo, here treated like a kind of violin, must necessarily buy this record. Samba and sambuca “a gogo” for your sinful soul, boys!!!
5) “When you wish upon a star” is a slow, intimate and whispered piece at the tip of the instruments. Here the homage to Bill Evans is evident, magical and moving, I would say.
6) “Autumn leaves”. In every album, there is an exception to the main theme, in every building you can find, if you look carefully, a slightly oblique window or a detail that perhaps does not align with the general architecture. This CD does not escape the rule, and the arrangement of this piece, with continuous tonal jumps, makes the melody and the path tortuous and unrecognizable. Which does not mean ugly, quite the opposite: it just means that listening to this track, for me, has raised the bar of “classic” taste by a good half a meter.
7) “Just friends” also begins with a beautiful bass solo. Perhaps only Bill with his trio did the same, trusting the musicians he carefully chose so blindly, to the point of giving them a truly equal space in the group’s economy and to the point of never rehearsing before a concert. Miles would have reached that conclusion through a different philosophy and logic only towards the end of the second half of the sixties (ask George Coleman, who was scolded several times for having... rehearsed in his hotel room!). A piece of high concentration and interplay.
8) “Footprints”. This is a track that normally constitutes a severe test ground as simple as only a blues progression can be, but difficult to carry forward if you don’t have ideas, technical skills, sense of the note, of accompaniment and chemistry with fellow traveling musicians. All certified by this execution. A lesson on how to play the contrabass, and even modally, with profit. Passed in June cum laude.
9) “Dedication” is the closing track of the album, offered by Eddie to everyone and dedicated to those who have served as his master, model, spur or simple support so that he could become the artist and the man he is. For better or worse. A track that starts with a no-tempo and remains undefined yet romantic and ethereal, with Steig’s intervention helping to close a beautiful album.

For this writer, who probably has all of Gomez’s works, definitely the artist’s best record as a leader: a CD to buy without hesitation, don’t even waste time downloading samples! I would never risk receiving possible curses in hindsight: if you like it, instead, send me a... “thank you” telepathically!!!!!!!