It's hard to top pianist Cedar Walton's excellent solo recordings from the '70s; I recommend "Breakthrough," which features saxophonists Hank Mobley and Charles Davis. It's even harder to top his work as a sideman with artists such as Blue Mitchell ("Out of the Blue"), Freddie Hubbard ("Hubcap") Joe Henderson ("Mode for Joe") and Art Blakey ("Mosaic"). But "Composer," released in 1996, comes close.
In a way, the veteran pianist was carrying on the work of Blakey, perhaps the best jazz mentor in history, by surrounding himself with young turks such as trumpeter Roy Hargrove, bassist Christian McBride, and saxophonists Ralph Moore and Vincent Herring.
Hargrove is particularly outstanding, which probably shouldn't be surprising because Walton's always had a special relationship with trumpet players, including Hubbard, Kenny Dorham, Lee Morgan, Art Farmer and Clifford Jordan. But the real reason "Composer" ranks among my favorite of Walton's recordings is the elegance of his playing. He plays so softly, so spiritually, on the nine songs he composed for the album. There's strength in his play, too, especially on "Theme for Jobim."
The album sounds like a classic Blue Note date, maybe even a Jazz Messengers album, and I can't give much higher praise than that.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
In a way, the veteran pianist was carrying on the work of Blakey, perhaps the best jazz mentor in history, by surrounding himself with young turks such as trumpeter Roy Hargrove, bassist Christian McBride, and saxophonists Ralph Moore and Vincent Herring.
Hargrove is particularly outstanding, which probably shouldn't be surprising because Walton's always had a special relationship with trumpet players, including Hubbard, Kenny Dorham, Lee Morgan, Art Farmer and Clifford Jordan. But the real reason "Composer" ranks among my favorite of Walton's recordings is the elegance of his playing. He plays so softly, so spiritually, on the nine songs he composed for the album. There's strength in his play, too, especially on "Theme for Jobim."
The album sounds like a classic Blue Note date, maybe even a Jazz Messengers album, and I can't give much higher praise than that.
(Jazz Blog Special is a regular feature that examines older jazz albums worth checking out.)
