Musicians: Peter Sommer (tenor saxophone), Rich Perry (tenor saxophone), Eric Gunnison
(piano), Ken Walker (bass), and Todd Reid (drums)
Review: While comparatively uncommon in the past couple of decades, twin-tenor sax
combos were a happening thing—Sonny Stitt/Gene Ammons, Eddie “Lockjaw”
Davis/Johnny Griffin, John Coltrane and whoever the Prestige wizards could pair
him in his time away from the 1950’s Miles Davis Quintet. Whether or not tenor
sax fellow Peter Sommer was inspired by these summits, his Crossroads
employs that concept—Sommer’s quintet includes the rich tenor (no pun intended)
of Rich Perry. Their program is an interesting one—a couple of routine [not
a value judgment, btw] standards (“’Round Midnight,” “Alone Together”), a few
originals, and some little-known gems composed by Kenny Dorham, Bud Powell, and
Wayne Shorter. Keep this thought: Crossroads is not trying to emulate the
exciting tenor “battles” of the aforementioned iconic hepcats, not a
play-the-head-and-wail session. Sparks do fly, but this is an engagingly
moody, well-thought session of cerebral (though not detached or dry) modal
post-bop. Both tenor gents have full, hearty sounds—Perry has a sumptuous, tasty
(as semi-sweet chocolate) tone with the smarts/wit of Wayne Shorter. Sommer has
some of the Monk-imbued tone not unlike that of Charlie Rouse (T. Monk’s
longtime foil) and much of the steely-shiny breadth of Dexter Gordon. All the
tracks are fairly lengthy (the shortest at five minutes, the longest at 10+) but
there’s no excess, no meandering. The rest of the band is a bit subdued, but the
entire fivesome plays superbly as a unit. Crossroads is unlikely to
achieve “classic” status, but it’s an engrossing, intelligent, and heartfelt
listen that doesn’t sound like 5,000 other jazz discs. Therefore: Three thumbs
up!
Tracks: Escapade, The Fruit, Dance Cadaverous, Think Of One, Shoskin, Carpe Coffee,
Along Together, Round Midnight
JazzReview.com
