Hope Springs Eternal (Live)

A live date at Visiones in N.Y.C. for pianist Barth and his quartet of Steve Wilson on alto/soprano sax and flute, Ed Howard on bass, and Adam Cruz on drums shows the band off in a fairly compact, non-excessive framework. Each piece is between seven and nine minutes. Barth has a unique compositional approach which cannot easily be pigeonholed; it is definitely modern mainstream, ultra-melodic, linear, multi-thematic, harmonically and improvisationally rich, and consistently interesting. He himself takes cues from the Wynton Kelly-Herbie Hancock-Chick Corea '60s Blue Note/Riverside strain, and his ideas churn and bubble with both the enthusiasm of youth and the wisdom of one who knows history and strives to avoid its clichés and obvious derivations. The pianist wrote five of these demanding pieces. The title track has a hard, static swing that resembles rock, with an edge that is juggernaut-like, Wilson's soprano begging to be challenged. "Wondering Why" has an intro and ending built from the most beautiful, minimalist chords, claiming to be a paeon to Aaron Copland with Wilson's flute drifting over these swan lake excursions — absolutely breathtaking music. A hot samba with alto sax and piano unison fires a jackrabbit-quick ostinato bass and razor-sharp drumming from Cruz on "The Hour of No Return." "Up & Down" accents leaped intervals á la Monk, as Wilson dives in on alto. "The Revolving Door," with alto leading and Barth's piano following, has a two-part melodic section that revolves around their playing, chasing a good, exciting swing rhythm. Wilson's composition "The Epicurean" is a highlight — tick-tock and mixed-funk swing hands off to a lilting, memorable melody. Cruz penned "Full Cycle" with a heavy bass intro from Howard, clicking drums, a soprano-piano inquisition, and an edited, slight bossa feel, supplying interactive beats. The standard "Darn That Dream" has Barth suggesting, doubting, and stating his dream for how this melody is to be heard — an atypical interpretation if there ever was one, with just the trio doing it. Among musicians such as Brad Mehldau, David Kikoski, and Benny Green, Barth is ready to take his place in a pantheon of young and experienced jazz lions roaring for attention. Compositionally he's at the top here; this club set proves he has a skilled, fresh voice to offer on the instrument. After listening to this recording a few times, one finds jewels cropping up again and again. Highly recommended. ~ Michael G. Nastos, Rovi