Superbly grand
hanyi ishtouk | Budapest, Hungary | 12/04/2007
(5 out of 5 stars)
"George Colligan Trio: Blood Pressure (2006, Ultimatum Records); running time: 63.13 min.; genre: contemporary mainstream jazz
He piqued my curiosity with his performance on David Gilmore's (not to be confused with Gilmour of P. Floyd fame) groundbreaking debut album 'Ritualism' (2000, Kashka). The instant appreciation led to the CD called 'Ultimatum' (2001, CrissCross) where Colligan teams up with Gary Thomas (t. sax, flute), Drew Gress (bass), and Ralph Peterson (drums) for at times hard-hitting, occassionally angular rendition of the bandleader's 9 originals. Then came July of 2005, when this humble reviewer was sufficiently stoopid to miss G. Colligan playing live in the Hungarian countryside (Cserfo) with Don Byron's 'Ivey-Divey' touring band, accompanied by Lonnie Plaxico and Billy Hart.
Nonetheless this pianist extraordinaire's accumulated efforts come into full bloom on 'Blood Pressure': a wide-ranging yet cohesive set of original compositions delivered in tight-knit fashion with impeccable harmonic and rhythmic sensitivity, both from bandleader and sidemen. In fact this trio format revolves around 2 altering pairs of bassists (Josh Ginsberg, Boris Kozlov) and drummers (EJ Strickland, Johnnathan Blake). A pleasant surprise is added to the arrangement with Boris Kozlov demonstrating his mastery on fretless bass guitar too, in grooving as well as in soloing.
The show kicks off with 2 straight-ahead, standard-like swinging tracks, of which the first one has slight classical overtones, whereas the 2nd track is jazz bluesish. In the overall context of the album the title song (vaguely reminescent of Michel Camilo?) stylistically-thematically links up with 'Big Trouble' and the final track entitled 'Motivation'. All three, to an undefinable degree in akin vein to some pieces by Chick Corea Akoustic Band or by David Kikoski, highlight Colligan's exceptional phrasing, tempo, well-structured solos with obligatory fireworks that make these modern piano jazz compositions rewardingly accessible to the listener despite their complexity and detailed nuances. The 4th piece is a bossa nova treat with a meandering songline, featuring Jamie Baum on flute and George on Fender Rhodes (or the equivalent on synths.)
'Nightmare 1' introduces 3 other short pieces which, for lack of a better term, I'd call 'meaningful fillers', where the performers briefly explore some other avenues. In the same line, 'Angry Monk' is an obvious reference to 'blue monk' Thelonious, while track 11 'Question?' (pretty certain what this association might bring to one's mind) is a curt improvisational funk (a la Herbie Hancock?), and 'Flashback 1' is a spherical experimentation with electronic sound.
Track 10 'Old Oak Tree Up the Hill' could as well be a contemporary interpretation of some traditional bead of pearl from the Great American Songbook (compare with, say, certain Bruce Hornsby compositions?). The lyrical, balladistic takes include track 6 'Interiors' where one may recall the influence of George Duke's piano broodings perhaps, 'Kerry's Theme' with the inclusion of violin, and track 12 'Honesty' (with a touch of Lyle Mays?) that reminds me of the hauntingly beautiful solo piece 'Silkscreen' on Colligan's 'Ultimatum' album.
[...]."
Track Listings (14) - Disc #1