REVIEW: Kobi Arad Band / “Sketches Of Monk“
Kobi Arad – electric piano, analogue bass, vocoder
Henoc Bazelais Montes – bass
Ray MacNaught – drums
Greenpath Musical Productions Inc. / 2020
1 Bemsha Swing
Beginning with a chromatic vamp and groove, Arad launches into the melody for a single go-round before starting his angular and dynamic solo. MacNaught is very interactive and supportive here; while a delay effect adds an extra layer of motion to the drums in the stereo field. Montes is a solid support on the bass, where his occasional ghost notes adds a percussive element. In the middle of this track, the band is secure enough to let the form float while they suspend the changes and create an alternative nebula. Out of this spins the final vamp section, while the band takes more liberties, before an explosive ending.
2 Monk’s Mood
Arad begins solo on the Fender Rhodes, adding colors of reharmonization. Then, a bright buzzing lead starts the melody – again doubling the Fender Rhodes. The mix is wide and warm. Arad takes the first solo, interspersed with fragments of the melody (as a true Jazz solo should) – while the analogue bass and MacNaught’s drums provide an interactive palette. Out of his solo, the lead sneaks in seamlessly, before morphing into a solo feature of its own. Unexpectedly, the track ends as the leads takes a moment of rhapsody.
3 Bye-Ya
MacNaught underpins this track with a double-time feel – reminiscent of a jungle groove approach – but opening up on occasionally with the ride cymbals for contrast. Arad takes the same double-time feel approach in his solo too, creating multiple streams of rhythm. The energy keeps rising throughout until a break down for MacNaught’s drum solo – which reference James Brown as much as Kenny Clark. Arad begins again with clouds of parallel solo voices before the melody is restated. This band loves jamming together and it shows; but they take relish in crafted endings.
4 Evidence
The melody is skillfully rearranged; transmitting Monk’s off-kilter style. Amazing that the feel is like a Bossa-Nova, but clearly drawing from a Jazzy influence. Montes offers short, spicy support. MacNaught solos over the melody hits of the band before Montes’ solo evolves out of the interactive haze. The line between solos and melody are more blurred in this track, giving the impression of a shifting trio dance.
5 Thelonius
The track starts with swinging in the typical way, which contrasts the other more groove-oriented sounds. Arad brings elements of Monk’s stabbing chords while adding eruptive and fluid Free Jazz melodies. Harmonies are parallel and disjunctive. The band fades out as the melody is vamped, and a muted synth percolates.
6 Off Minor
The melody is briefly stated before Arad colors outside the lines with a solo. MacNaught solos directly after, scattering moments of double-time. Though based on a groove, there is a clear swing element that supports the free attitude.
7 Little Rootie Tootie
A pseudo-organ lead doubles the Rhodes perfectly. Amazingly, both lead and Rhodes solo simultaneously without actually getting in the other’s way. The mix helps this effect as the Rhodes is central and the organ oscillates on the outer fringes of the stereo field. A group solo occupies the central section. A thrice-repeated ending nails the tune closed.
8 Well You Needn’t
The starting groove is soon taken over by a swing feel as the band joyfully jiggles over the tune. Montes’ solo seems to happen at the same time as as several other layers of low end solo, creating a 3-d effect. And this trend continues for trading section with the drums. At times the ensemble sounds larger than it is, but the melody is never lost – which is Jazz at its heart.
9 Monk’s Dream
The bass synth is the feature here, even while the melody is stated. A backbeat anchors the performance. MacNaught clearly states the melody as he solos, showing the level of awareness that each musician possesses even while freed from traditional norms. Just as it started, the tune ends with the bass synth even more free from its low register and behind the scenes role.
10 Bright Mississippi
Monk’s music is flexible enough to be applied to many different concepts of rhythm, and it shows here – even over a disco derived back beat. Montes has a distinct solo, while Arad frees himself from subtle accompaniment.
11 Crepuscule with Nellie
Again the solo lead and the Rhodes are perfectly layered – with precisely the same articulation and timing. MacNaught leads the set here, dominating and accenting, rumbling and pushing. Montes also steps out and commands some attention, before the Rhodes / lead layer ends the tune in a chromatic cloud of tinklings – joined by the drum cymbal pinglings.
12 Introspection
A rubato intro with Rhodes, bass and drums provide a different texture than on most other tunes. The melody is free of a constant rhythmic pulse, but not of the form. A pulse does arise, but it doesn’t linger long before dissolving again. Then, a groove initiated by the Rhodes asserts itself as the trio converses over it.
This record has the feeling as if the listeners were invited to watch old friends jam over well-known standards, with a loose enough arrangement to allow free inter-play, but arranged enough to prevent decay into chaos. That Monk’s music is so flexible is a nod to that master, while the musicians show much imagination in creating alternative realms and colorful sketches in which to demonstrate the inclusiveness of Jazz music.
Chicago, January 2021
Kelvin Sholar – Pianist, Educator