Two years on from the excellent Bespoke Man’s Narrative Diehl scales up, his core trio of bassist David Wong and drummer Quincy Davis joined on a small number of tracks by veteran guests saxophonists Benny Golson and Joe Temperley and two much younger players: another saxophonist Stephen Riley and by trumpeter Bruce Harris.
Singer Charenee Wade also makes an appearance on the title track the lyrics of which were written by Cécile McLorin Salvant. Sleeve notes are by The Bad Plus pianist Ethan Iverson who comments, referring to the album title: “Aaron Diehl sees jazz as the literal ‘space time continuum’ of the album’s title. The language is not relegated to any era. Connections can and should be made across generations and styles.”
Recorded at Avatar in New York (there isn’t a recording date given) the selections are mainly the 29-year-old Diehl’s compositions plus opener Walter Davis Jr tune ‘Uranus’ and ‘Kat’s Dance’ by Adam Birnbaum. Some are commissions, for instance ‘Organic Consequence’ was written for an environmental film festival at Yale university and ‘Santa Maria’ for the bicentennial of Diehl’s hometown of Columbus, Ohio.
Diehl has an incredible virtuosic and natural touch as a player completely immersed in the bop-and-beyond traditions he thrives on. After the old fashioned start to the album with ‘Uranus’ (the language doesn’t seem at all contemporary but steeped in the mythic hard bop era) Temperley’s solo on ‘The Steadfast Titan’ is straight out of Ellington. There’s new vigour with Riley’s spot on ‘Flux Capacitor’ the saxophonist all light toned and slightly mischievous, Diehl’s support a collection of little surprises.
‘Organic Consequence’ has a moodiness to it that again belongs to the distant past and any number of Blue Note records, Harris’ trumpet tone characterful and inviting. ‘Kat’s Dance’ has more of a formal feel to it while ‘Sanata Maria’ led off by the arco bass of David Wong could have been a big statement but doesn’t quite develop into one and that lack of lift-off applies to several of the tracks on the album.
There are fun bits when Diehl can dazzle just for the hell of it, for instance on the scampering ‘Broadway Boogie Woogie’ and the title song, again moody and atmospheric is kept to last Wade’s voice persuasive and strong but the song perhaps could have been introduced a little earlier and the album ends a little inconclusively. Somehow you’re left wanting more by the conclusion with some of the loose ends strewn about needing tying up.
Stephen Graham
Released on 15 June
Aaron Diehl plays Ronnie Scott’s in London tonight