AARON GOLDBERG — The Now (review)

Album · 2015 · Post Bop

4.5/5 · 2015-03-01
Matt

Aaron Goldberg first came to my attention in the year 2000 when he was supporting Joshua Redman on his current tour throughout that period. At that time Aaron had released his first album “Turning Point” with his follow up “Unfolding” having already been recorded and coming out within a few months. With another two albums that have since followed we have finally arrived at his fifth release “The Now” with his old cohorts in music Ruben Rogers on Bass and Eric Harland drumming who have both been with him since the beginning of his recorded output and comprise what basically could be termed as Aaron’s Trio these days. Post Bop, Brazilian, Haitian, a Charlie Parker cover with Aaron’s original compositions bring a wonderful diversity to the albums make up and content with plenty for the Trio to work around with a mix of tempos and melodies.

Aaron choose the Chico Buarque composition, “Trocando Em Miudos” for the album’s opening comprising a beautiful relaxed take with the number and less relaxation of course if you are Aaron who brings this up within his solo with that gradual increase in notes and speed to almost the highest point but that old Jazz art of landing back on that tunes theme is right there. We are heading to Haiti with the next “Yoyo” with Ruben and Eric opening the number with the rhythm and Aaron’s piano providing some wonderful input and lead over this lively number. Kudos must go the rhythm section of Ruben and Eric with both keeping the rhythm of the composition’s Haitian feel at the beginning and end when so often in other Jazz recordings the compositions can become lost of their original sound. The ballad, “The Wind In The Night” follows with plenty of space provided between each piano key and with the exquisite backing from Ruben and Eric you might be excused if one walked in to hear, “Bill Evans”? The diversity keeps coming throughout the ten album tracks with the short modern composition of Aaron’s named “E-Land”. That Charlie Parker sprite appears instantly with “Perhaps” and the lovely Brazilian ballad , “Triste Baia da Guanabara” follows. “Background Music” by Wayne Marsh must have originated from a very fast world with its great up tempo timing. “One’s A Crowd” as the notes’ state “Even when you’re alone you’re not. What is this you anyway”? with the band all having an input for solos within this contradictory set up at time within Aaron’s composition. The dedicated “One Life” closes the album with Kurt Rosenwinkel guesting on guitar and one could be excused if mistaken for a flute with the stunning sound he produces. The composition is dedicated to a married couple that Aaron met who had lost their teenage daughter, let’s hope that a small amount of relief is brought to them.

Gets better with every time I hear this and that old phrase that I have used so often applies, “something new to hear with each play” . Highly recommended new release. If you are interested Aaron signed the cover of Joshua Redman’s “Beyond” album on the 2/28/00 which he dated luckily for me on that wonderful evening of Jazz at the now defunct “Continental Club” in Melbourne Australia. Also got Ruben Roger’s whilst he was there.