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Richard Davis, born in 1930, is one of the greatest living bassists who has traversed key moments in the history of jazz by collaborating with excellent musicians and contributing, with his instrument often played with the bow or as a double bass, an invaluable and elegant contribution to true milestones of this music. Just consider "Out to Lunch!" by Eric Dolphy or "Point of Departure" by Andrew Hill.
A professor at the University of Wisconsin, he has trained important groups of students among which William Parker is also included.
In contrast to a rather limited production as a leader, barely a dozen records, stands a monumental presence as a highly sought-after sideman with artists, in addition to those already mentioned above, of the caliber of Kenny Burrell, Elvin Jones, Freddie Hubbard, Roland Kirk, Dizzy Gillespie, Charles Lloyd, C. Mingus, Sarah Vaughan, and many others. Let's not forget that he also participated in recordings of rock musicians like Bruce Springsteen, Paul Simon, Van Morrison.
The album reviewed here is from 1987, released by the Japanese label DIW (an excellent and silent vinyl), and sees him leading a classic trio composed of the superb pianist Sir Roland Hanna and the precise and swinging drummer Frederick Waits.
The opening of the record is entrusted to "Manhattan Safari," composed by Hanna, with a driving rhythm and enriched by a remarkable solo by R. Davis with the bow, giving us a glimpse of what to expect as the listening continues.
"Southpark and Richard," also by R. Hanna, starts with a splendid bass-drum duet, almost a walking bass, followed by a double bass solo adorned by the pianistic refinements of Roland Hanna.
"Summer in Central Park," a beautiful and almost dancing ballad-style composition by Horace Silver, where R. Hanna brings out his light and precise touch, perfectly supported by F. Waits, followed by an almost singable bass solo.
"Brownie Speaks," a composition by the late Clifford Brown, the rhythm immediately starts with intensity, with all instruments in full sync. Here too, R. Davis flaunts his bow to give even more impact to the flow of the piece. R. Hanna performs a remarkable solo followed by Frederick Waits: precise and fluid. It's a worthy tribute to the C. Brown/M. Roach quintet of the '50s.
"Persia My Dear," the only composition on the album signed by Richard Davis, opens and closes with the bow in a very pleasant atmosphere that combines rhythm and melody.
"Strange Vibes" by Horace Silver is the longest track on the album, which you almost wish would never end with its rhythm that keeps your feet from staying still. R. Davis gives another exceptional performance with the bow, then naturally sets it aside, making way for his excellent playing. The whole, as always, is supported by the great Roland Hanna and the precise drumming of F. Waits. Hence, the vibrant bow returns on Davis's bass, dominating all the way to the driving finale of the track.
"Let Me Try," another composition by R. Hanna, is a duo piece in perfect chamber style piano/double bass where the instruments speak to each other with accents sometimes poignant and romantic, like the dialogue between two lovers.
SPLENDID finale to an unmissable record. A must-own, without hesitation.
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