Stan Hope
has been in the jazz business for more than 40 years, but
Pastels
is only his third album as a leader. The influence of
Erroll Garner
on
Hope
's approach to the music is evident, not only in the playing, but in
's selection of four
Garner
-composed tunes for this session. To
's credit,
"Misty"
is not one of them.
's playing sparkles like
's, but is not as fanciful or as ornate.
doesn't engage in those long, twisting runs
is noted for, but
swings and plays in an unabashedly romantic manner, sometimes within the same song. Listen to the title tune -- another
composition -- for a summation of the
pianistic approach. He possesses a deft touch putting out swinging, glistening chords, with the emphasis on the right hand, all with a sentimental flavor. The album also features
's affection for things Latin.
Benny Carter
's engaging
"Summer Serenade"
is given a scintillating Latin-tinged workout by the trio with
Ray Drummond
's plucked bass working effortlessly underneath
's piano.
While this album is primarily a piano trio set,
Houston Person
shows up with his swinging soulful tenor saxophone on three cuts. After an extended swinging introduction by
"Indiana,"
Person
's tenor makes an explosive entrance and takes over the tune, with
's piano comping in support.
's bass and
Kenny Washington
's drums are also heard to good effect on this cut.
makes a major contribution to an engaging
"Be Anything"
(a pop hit for
Doris Day
in the 1950s) and chips in on
's
"Hopeful Blues."
The set ends with a pleasant, melodic medley of standards.
Savant Records
focuses on recording jazz musicians who have been in the business for a long time, but haven't received the exposure and recognition they've earned.
certainly fits that category. ~ Dave Nathan