Joe LaBarbera Quintet
Mark Time

In 1980 Bill Evans was still on tour, albeit in strained conditions and psychologically still shattered by the suicide of his dear brother Harry (the latest dramatic event in his very troubled family history) that had happened just a year before. On the evening of his last concert, he was lying on some sofa in the dressing room, in terribly poor physical form; the noise of some drums, cymbals, and a few notes of double bass descended from the stage to the backstage. Friends and organizers, seriously concerned for Bill's health, would have wanted him to cancel the concert at this point, but legend has it that he said: "…can't you hear? Out there on the stage are two wonderful musicians waiting for me and I MUST go play, for them and for the audience.” And he went on stage for the last time.

The double bassist was Marc Johnson and the drummer was Joe LaBarbera. The multiple life experiences on the road, exposure to recording sessions with big-name artists, as well as a solid musical education behind him (Berklee) have made Joe a high-level musician, both interpretively and compositionally. In the album in question, released in 2003, we find a cast of absolute top players from the west coast USA: Clay Jenkins on trumpet, Tom Warrington on double bass, Bob Sheppard on sax, as well as Bill Cunliffe on piano. It should be mentioned that this group of musicians, for better or worse, you find them all on each other's records. But this is not necessarily a bad thing, considering they are versatile jazz musicians, incredibly skilled.

The music on the CD is intelligent, very modern, full of swing, and remarkably high in technical level. The fact that it is released by a small label makes the discovery of these rare “gems” even more delightful: if you are a CBS or ECM artist, you can count on widespread distribution; with these small, generally self-managed and self-produced labels, often with limited resources, the only way beyond local distribution is E-Bay. And so it is that often for mere pennies one can buy surprising works online like this one, which otherwise you might never have imagined. In particular, we are talking about a piece of music that is BEAUTIFUL and played with great heart and technique, shunning clichés and infusing a lot of personality into each track.

1) Chick it out by Cunliffe jumps right in with a nice flugelhorn in evidence and a fast phrasing recalling urban rhythms. Solos a go-go and rhythm through the veins
2) Suite Sixteen by J. Abercrombie brings us back to the land of thoughtful, considered jazz; almost ECM but with much added warmth. Cunliffe's pianism deserves a chapter of its own that should be reflected upon and savored, as Bill plays and interprets in a personal manner. After the exposition, a remarkable “declaiming” double bass intervention is appreciable (I can find no other terms to define an instrument that speaks this way). Mood changes, slowdowns, and soprano sax. 3) Automaton, again by the pianist, is a track developed on a relentless, fitting tempo; with modulations and a general tone that is suspended and sometimes modal. A nod to classic big quintets at times but with no concessions to the banal. Never. Language overflowing across Davis-like expressive boundaries of the late '60s. For over ten minutes, the tension holds and piques your curiosity.
4) For Gillian is a ballad composed by La Barbera: one of the most beautiful around at the moment. Performed with feeling and a couple of cartloads full of taste. Joe is the only one who doesn't exceed even a hair's breadth. A killer sax stabs your earlobes only to lay you out on the couch with Cunliffe's solo: one who delivers 32-second continuous phrases (timed to be believed!). 5) Mark Time, by Kenny Wheeler, is a varied and well-conceived modern mainstream piece perfectly suited to highlight the technical skills of the entire quintet. Notable. To give an idea, it is one of those tracks that interrupt any conversation you're having to focus all your attention on it.
6) Contour by Kenny Drew (another musician well worth reviewing) is the classic medium-tempo piece full of energy and a desire to play jazz; the atmosphere felt in this album (and it's a feeling the humble reviewer can't shake off every time they listen to this CD!) is typical of Umbria Jazz: you're walking around the stage, and they deliver to you a cascade of gorgeous sounds that make your head spin. Solos and beautiful, spot-on notes galore!
7) Bella Luce, dedicated to Conte Candoli, is another theme by La Barbera, chosen for a distinctly intimate dimension. Chet's shadow emerges from behind the scenes and the interplay between musicians reaches levels of pure empathic telepathy. Trumpet and piano solos. In the album, wisely, the solos alternate now one then the other; in one track yes and the next no; with a clear objective: to vary and offer absolute quality but well-measured.
8) S' Matta again by Wheeler is the piece that closes what I believe is the most beautiful album of the month, said by a maniac who consumes music as if suffering from an obsessive compulsive incurable disorder! A medium-paced theme that greatly resembles the Oregon when they want to play jazz by the book (and damn if they know how to do it!) both in theme and development.

An unmissable album for anyone who loves the bebop genre of our times and wants to discover, at the same time, musicians not too well known in Europe but objectively stunning. 'Ben Sidran', another one who will need to be examined, is used to say that "…in the USA there are more jazz players than windows". I wouldn't know how to choose who is "the best" among the five! Meanwhile, we enjoy the notes and keep time: Mark Time!