Less Is More

The Eastman School of Music's Thompson puts together a satisfying straight-ahead affair with "Less is More." Borrowing two members of Matt Wilson's "Arts and Crafts" ensemble (pianist and organist Gary Versace, an alumni of Eastman, as well as trumpeter Terell Stafford), the material does have some similarities with Wilson's modus operandi. A wonderful mix of Blue Note-era jazz standards and original contributions, "Less is More" is at once an homage to the past and summation of the current state of straight-ahead jazz. Thompson is a fiery and communicative drummer, doling out bits of info for the other musicians to react to while at the same time he is a sensitive listener. His style skates somewhere between the bebop drumming of Max Roach and the 1960s expressionistic palate of Tony Williams.

Kenny Dorham's classic, "Lotus Blossom," receives an uptempo re-interpretation with both Stafford and Versace taking the helm with hard-swinging and energetic solos. Thompson's own "Hoot Gibson," a funky, Jimmy Smith-style original, features Versace on organ and is further evidence of the '60s Blue Note influence. The beautiful Rodgers and Hart title, "I Didn't Know What Time It Was" is performed in 5/4 and in a trio format with saxophonist Doug Stone (another Eastman staff member who appears on two of the album's ten tracks). Stone's dark, warm and airy tone is reminiscent of classic Sonny Rollins or Hank Mobley, as well as containing traces of Branford Marsalis' blunt attack. This is especially apparent on his hard-swinging solo on the album's closing title, Joe Henderson's "Step Lightly."

Bassist Jeff Campbell (yet another Eastman teacher!) holds forth throughout and contributes some wonderful solos. His sound is big and warm, with a natural non-amplified sound comparable to Dave Holland and Gary Peacock. Thompson and Campbell obviously have a history performing together, and they lay down a relaxed groove, even on up-tempo numbers. Nothing ever feels forced or out of control. Stafford and Versace sound as inspired as ever, playing masterful solos and lending their unique personalities to the recording.

Versace is an especially adept listener. His tasty comping provides the perfect answer to every question. He never seems to merely be playing the soloist?s melodic or rhythmic ideas back at them, but instead takes the high road, finding the perfect counter to whatever is happening at the time. As an organist, Versace's playing is a fresh combination of old-school soul and new-school sonic experimentation. He is reaching for, and adding something new to, the modern library of organ sounds and timbres.

In terms of composition, the music on "Less is More" isn't breaking any new ground. But this album is highly recommended for anyone who enjoys the aesthetic of the classic Blue Note era. The music is performed with soul and humility. Even the great Ornette Coleman's usually frantic tune, "Invisible," receives a more down-home, straight-ahead performance. With an air of reserve, maturity and subtlety, "Less is More" lives up to its title.