JazzProfiles: Swing Street – The Eric Ineke JazzXpress featuring Tineke Postma

For those of you who like your Jazz served up in a straight-ahead, hard-bop style, then a musical feast celebrating this genre is on hand for you in Swing Street – The Eric Ineke JazzXpress featuring Tineke Postma [Timeless Records CDSJP 495].

For this recording, Eric’s JazzXpress, which turns 20 next year, has added the soprano and alto saxophone talents of Tineke Postma to perform a repertoire of music closely associated with the Cannonball Adderley quintet and sextet of the 1950s and 60s.

In addition to the superb soloing – Eric always leaves plenty of room on his recordings for his players to stretch out – each tune is masterfully arranged to give them a freshness and allow the band to put its own stamp on the material.

While the rhythm section of pianist Rob van Bavel, bassist Marius Beets and Eric on drums have been a part of the group from its inception along with tenor saxophonist Sjoerd Dijkhuizen, trumpeter Nico Schepers is new to the band. Tineke appeared on the group’s CD previous to this one – What Kind of Bird Is This? The Music of Charlie Parker.

This sextet’s configuration is similar to the one that the Adderley Brothers had in place which featured the “soulful brother” Yusef Lateef on tenor sax with a rhythm section of pianist Joe Zawinul, bassist Sam Jones and Louis Hayes on drums.

Regrettably this sextet was short-lived but they did leave us with three albums on Riverside Records: The Cannonball Adderley Sextet in New York Recorded Live at The Village Vanguard [RLP 404, 1962], Jazz Workshop Revisited: Cannonball Adderley Sextet [RM 444, 1963] and the Cannonball Sextet in Europe Riverside LP [RM 499, 1963]

Trombonist J.J. Johnson’s sextet with Freddie Hubbard on trumpet and Clifford Jordan on tenor sax, The Jazztet with a front line of Art Farmer [tp], Benny Golson [ts] and Curtis Fuller [tb] and drummer Art Blakey’s sextet which featured Freddie, Wayne Shorter on tenor and Curtis came into prominence for a brief period from the late 1950s to the mid 1960s. This instrumentation allowed these small groups to create a wide range of textures [sonorities] in their arrangements that produced ensembles with full, rich voicings.

Sadly, the economics of a declining Jazz audience by the mid-1960s made these groups too expensive to book and they were basically phased out, but not before leaving a wealth of terrific music in their wake.

Now, thanks to Eric, Tineke, Sjoerd, Nico, Rob and Marius, you can once again sample Jazz in a sextet configuration which includes new takes on the Cannonball Adderley Sextet Songbook as the band has reimagined each of the eleven original tracks tracks. 

Rob van Bavel does the arranging honors on the opening track, Victor Feldman’s Azule Serape. The London-born pianist, vibraphonist and drummer was with Cannonball from 1960-1961 and contributed a number of compositions to the band’s book. 

On the Cannonball’s live album at The Lighthouse Café in Hermosa Beach California [where Victor was the resident pianist in Howard Rumsey’s All-Stars from 1957-59], Adderley introduces the tune this way: “I’ve been trying to figure out a long time what this name means for this tune that Victor Feldman wrote for us. This one is called “Azule Serape.” Now he’s from England and I know it’s not English. It’s something else. “Azule Serape.” That’s what the next tune is.”

Rob’s arrangement approaches the tune as a sort of fanfare to open the album in a stirring and energetic manner. After the intro, Eric launches into an Afro-Cuban beat over which the band plays a staccato montuno which evolves into a series of Latin riffs. Rob then commences the melody on piano performing it in its original locked-hand fashion, the band comes in and swings the bridge and the whole thing gets the recording off in a rousing manner. Solos by Sjoerd, Nico, and Rob set the stage for four bar trades with Eric before the band segues the tune into a big finish.

Bassist Marius Beets does the arranging honors on Planet Earth and P. Bouk, both written by Yusef Lateef. The former features Tineke on soprano sax and a fine intervallic solo by Rob showing his interpretive range [think McCoy Tyner].

The latter was released on the 1963 Cannonball Sextet in Europe Riverside LP [RM 499], although it was first recorded by Yusef on his 1961 New Jazz LP – Yusef Lateef Into Something [NJLP 8272]. P. Bouk is an intriguing title and Yusef explains its meaning this way in Nat Hentoff’s notes to the New Jazz album: “It’s kind of an idiomatic language developed in Detroit that refers to a man’s idiom or “bag.” Now I can’t say that this tune sums up what’s in my bag because there is more than one thing in my bag, or rather, there ought to be.” Nat goes on to add: “The ingredients in Yusef’s bag which are primary in this tune is his commanding sense of swing, his gutsy forcefulness and his preference for economical clarity of design.”

Over an opening strummed bass ostinato which is amplified by Rob and Eric, Marius feeds into his arrangement of P. Bouk ingredients from his own “bag” that create a soaring statement of the novel features of the tune and then go on to serve as a launching pad for solos by all of the band members. Oscillating chords establish a vamp for Eric to stretch out over before the band takes the tune out with a full measure of “gusty forcefulness” which would have no doubt pleased Mr. Hentoff.

One thing you can always count on when listening to Eric’s bands is that they always SWING – and that quality is on display in the slow burn the band gives to its interpretation of Quincy Jones’ Jessica Birthday, which is another arrangement by Marius. Jazz played at a slower tempo requires a lot of control because nothing is slurred and everything is stated; clearly enunciated notation. No clichés are on display in the solos by the band members who seem to relish the chance to play out their ideas in a slower rhythmic context. The unison phrasing is clean and articulated which serves to give the slower tempo a nice bounce throughout.

Marius Beets closes out his turn on the arranging chair with a reworking of Oliver Nelson’s arrangement of Cannonball’s original Domination.

Tinke [on alto] and Marius state the theme to Domination in unison which then relies on a series of countermelodies as contained in the original to set the piece in motion. This is small group orchestration at its finest and everyone had their reading chops on to make this one happen. 

Jimmy Heath’s Gemini, Ernie Wilkins’ Dizzy Business and Nat Adderley’s Work Song comprise the next three tracks; three very distinct tunes which Rob honors with three distinctive arrangements. 

Gemini, Jimmy Heath’s lovely use of a loping 6/8 to waltz time rhythmic pattern, features interesting interludes that Rob has voiced in such a way so as to create a contrast to launch the soloists with Nico, Sjoerd and Rob doing the honors.

Ernie Wilkins’ claim to fame was as a big band arranger and this orientation really shows in the way the melody to Dizzy’s Business is constructed with its punchy phrasing and pulsating rhythmic kicks and licks. An uptempo bash that finds all the band members in fine form, especially Sjoerd who does “the big horn” proud with a take-prisoner solo that is reminiscent of Yusef when he was on the Adderley band. The sextet-as-big-band is on tap on this one.

Next up is Nat Adderley’s Work Song which in later years he would introduce to his audience as “the tune that paid all my bills for a long, long time!” This 16-bar minor blues was one of the most requested tunes in the Adderley’s band repertoire and Rob gives it new life with a refreshing take built around a rubato statement of the melody that makes it even more expressive and emotional.

Marius then sets the tone for the JazzXpress’s interpretation by laying down a driving bass walk over which Tinke’s alto soars before brassman Nico takes over with a vigorous and muscular solo. Sjoerd and Rob get in on the fun before the “van Bavel express” shouts the tune out.

It’s impossible not to have fun playing Nat’s Work Song and this version by the JazzXpress shows why.

Next up is The Chant, another original by Victor Feldman which became the title for the eponymous Sam Jones Riverside album [RLP 9358]. Sam was the first and longest serving bassist with Cannonball’s groups so as you would imagine Sjoerd Dijkhuizen arranged this to feature Marius Beets skillful bass work. Rob joins in after Marius’ solo and the two lock in with Eric to form the driving rhythm section that makes the JazzXpress such a splendid straight-ahead Jazz band. Sjoerd jumps in with a powerful solo until the band returns and takes the tune to a righteous close.

Unit 7 by Sam Jones was Cannon’s closing theme. It’s a 12-bar blues with a bridge which Rob infuses with countermelodies to give the tune a wonderfully crisp sonority. Tinke steps up and steps out with a marvelous solo on alto that’s gotta have Cannonball smiling. Sjoerd follows with some Texas-tenor style phrasing in his solo – what Cannonball describes as a “moan within the tone.” Another fine unison interlude acts as a shout chorus before the band joyfully ends the tune.

As a note in passing, the CD comes with fine booklet notes by the Jazz journalist and historian, Scott Yanow, which provide further insights into the musicians and the music.

Swing Street is the seventh recording in my collection by Eric’s JazzXpress and each one is a gem replete with meticulous musicianship and joyous, swinging Jazz.

As Scott says in his closing remarks: “Swing Street succeeds at paying an affectionate and very musical tribute to the great Cannonball Adderley.”

Do yourself a favor and grab a copy.

You won’t regret it.