Stung too often by inscrutable contracts and creative bookkeeping, a growing number of jazz
musicians are taking matters into their own hands, producing and distributing albums on their own
independent labels as an alternative to the bondage in which they’ve long been held by corporate
overseers. Four of these artists -- trumpeter Clay Jenkins, guitarist Larry Koonse, bassist Tom
Warrington and drummer Joe LaBarbera -- have come together to form Jazz Compass Records, an
online label whose mandate is to “provide the serious listener with outstanding improvisational
music,” presented “as they envision it, without compromise.”
This is the second Jazz Compass album I’ve heard, and each of them upholds the admirable
standards expressed in that statement. Bassist Warrington, who led the other one ( Corduroy
Road ), is a sideman this time with drummer LaBarbera’s quintet, recorded in concert nearly four
years ago at Rocco, which I presume is a nightclub somewhere in the US (most probably
California). Trumpeter Jenkins is there too, manning the front line with saxophonist Bob Sheppard,
while pianist Bill Cunliffe rounds out the rhythm section. This is a roomy blowing session (the seven
tracks average around ten minutes apiece) and everyone makes the most of the opportunity to
stretch.
LaBarbera opens with engaging tunes by Freddie Hubbard (“On the Q.T.”), Phil Dwyer (“Speak
Softly”), Thelonious Monk (“Evidence”), Mal Waldron (“Soul Eyes”) and Sonny Rollins (“East
Broadway Rundown”), then wraps things up with his soulful ballad “Kind of Bill (Evans)” and
swinging “Message for Art (Blakey).” Cunliffe and Sheppard (soprano) are mesmerizing on “Kind of
Bill,” which salutes the drummer’s membership in Evans’ last trio, while LaBarbera is surprisingly
reserved on “Blakey,” comping superbly but earmarking no solo space for himself. In fact, LaBarbera
solos at length only on “Q.T.,” which he introduces with an exciting two-and-one-half-minute enfilade
that prefaces cogent remarks by Cunliffe, Sheppard (tenor) and Jenkins.
Elsewhere, LaBarbera seems content to play a supporting role, which he does extremely well.
Warrington, another resourceful cast member, takes an impressive solo on “Speak Softly,” with
Sheppard shining again on soprano. Jenkins, whose bright sound and broad vocabulary serve him
well, is featured on “Soul Eyes” as Sheppard sits that one out, returning to offer a hot-blooded
impression of Rollins on “Rundown.”
This is an admirable quintet, one whose members work extremely well together and have strong
voices of their own (but you probably already knew that). The excellent sound and generous 70-
minute playing time help make this endorsement clear-cut and simple.
Contact: Jazz Compass, 3115 Foothill Blvd., Suite M235, La Crescenta, CA 91214. Web
site, www.jazzcompass.com; e-mail info@jazzcompass.com
~ Jack Bowers
