Last Call At Café Alto / Last Call At Cafe Alto

Canadian jazzmen Turner (alto sax) and Downes (piano) get knee-deep into introspective, light-hearted, and romantic sounds for this recording of compositions by Richard Karmel and Steve Rosenbloom. Their music is based on American popular song precepts, some which bear striking resemblance to snippets of well-known standards, but are expounded upon in fresh ways. Turner is a marvelous bebop-wrought altoist in the Phil Woods mold, while Downes is an expert at shading, framing and highlighting — not pushing — Turner's most melodic attributes. Half of the ten cuts are straight ballads. Three are written by Karmel; a poignant, regretful "Ballad for John Coltrane and Johnny Hartman," the more wistful, melancholy "Ballad for Duke" (assumedly Ellington), and a "Naima"-like "Ballad for a (Billy) Stray Horn." Rosenbloom supplied the tender "Ryan's Song" and "A Time for Love"-type "Night Talk" for Turner and Downes to wax rhapsodically upon. There's mystery in the swing of Rosenbloom's "Call from the Orient," as if Turner's sax was following the clues left by Downes' piano leads. One thing you cannot say about Turner is that his alto is stressed out, case in point being the patient construct during the Rosenbloom-penned title track, which acts as a torch song but is heightened by the bluesier piano of Downes. The 88s go closer to stride on the easily swung "You Don't Know What Love Is"-based Karmel number "Theme for a Daytime Radio Romance," inducing Turner into some boppish histrionics. Of the two brightest numbers on the disc, Karmel penned the tuneful ditty "Tango Captiva," while Rosenbloom conceived the spirited uptempo waltz "Three Cheers for Mr. (Bill) Evans" (cute title). What is most important in intimate music, making it ultimately listenable and enjoyable, is pure tonality. While Turner and Downes heartily dish that out, they back it with soul, honesty, integrity of style, and deeply felt passion, all clearly distinguished and digestible. Cool-school mavens should be able to drink from this wellspring of emotional music, played by two skilled musicians, and lavishly written by two born sentimentalists. Recommended. ~ Michael G. Nastos, Rovi