This is Adam Lane's (1968; Brooklyn, NY) fourth recording as a leader. The first two (Cadence Jazz Records 1104 and 1133) displayed his writing and arranging for larger groups and were astounding introductions, by any standard. Following those 2 releases, Adam moved from California back to the East Coast, put together a quartet (John Tchicai/ Paul Smoker/ Barry Altschul), went on a small tour and recorded Fo(u)r Being(s) (CIMP 263), a session which put the focus on his bass playing as well as his compositions. And now he goes head to head with John Tchicai (1936; Copenhagen, Denmark), an artist of unquestioned accomplishments whose work had already established historical importance, even before Adam was born. Chutzpah, perhaps, but from my experience with Adam, chutzpah backed by justified confidence in his talent and skill; a confidence both John and I share.
Even with this confidence and the acclaim he has received over the past couple of years, Adam remains (as people who knew him years before I did tell me he has always been) a modest, unassuming individual who quietly goes about his business, pleasantly and without self-aggrandizement: a nice guy, but not dull; he has his quirks! Actually,he's a bit of a klutz, managing not once, but twice, to burn his hands: once at supper when he grabbed hold of a bowl taken directly from the oven, and then again during a recording break when, in pouring water for tea, the kettle top fell on his hand, both incidents bringing a scramble for ice to bathe the burn. Funny in hindsight (actually, we were all kind of laughing when it happened, too), but the consequences can be disastrous to a bass player, let alone the risk of The Spirit Room being locked down by OSHA (Occupational Safety and Health Administration), an invitation to a thousand points of litigation and the necessity to recall all manner of utensils once thought of as benign, to be labeled as health hazards.
This date came at the beginning of a 15-day tour with Adam's quartet (mentioned earlier) and on the heels of John's trio recording (CIMP 278) with Pierre Dorge andLou Grassi. The 2 days of recording by that group had pretty much exhausted me and I'll admit to being a bit foggy when we sat down to record at 8 p.m. Adam opened with Free and I was struck by how alert and poised John's playing was only 5 hours after his own date had ended. Then, with Adam's solo, I snapped to attention, physically still tired, but at least for the moment mentally rejuvenated. And, as the night wore on, I was impressed by, even after many hours of listening to John, how clear his tenor is. It's very much an extension of his voice in its phrasing and inflections. Itseems mutually comfortable in conversation with Adam and, when it falls away, Adam immediately displays a canopy of warm sound, drawing this listener in. The music sounded so good that I was distrustful of my initial evaluations, fearing it may have been wishful thinking on my part brought on in part by sleep deprivation and the desire to accomplish my work as simply and as quickly as possible. Of course, the object is not to fill up a CD with sound and hoodwink an unsuspecting audience, but to help deliver inspired performances that will inspire listeners, bring insight, and, in the broadestmanner (not the shallowest), entertain. But for the moment, even if an illusion, I was glad for the pleasures of this music. I'd evaluate it with new objectivity tomorrow. And I rode the wave, enjoying the moment.
The next day, to my pleasure, not only did the things that I perceived as strong remain strong, but things that I had rejected now held greater interest. In listening, I was struck by how magnificent it would be to orchestrate a piece like To Avenue X with some hip arrangements, expanded for orchestra, with John blowing out front.
Adam's bass solo (For Kowald) came at the end ofthe first evening, when I think only Adam had any remaining stamina. His solo nicely balances the forward projection with a reflective worry and inventive development while presenting a pacing that keeps it from becoming tedious.
Rested and relaxed, we welcomed the next morning's more Fall-like temperatures and greatly reduced humidity, all of which may be reflected in the music of that day (Olingo, Birthday Song, John and Johnny Riding the Clouds Over Big Sur, Even the Stars Were Sad [Elegy for Karl with a K], Cycles).
As stated, Adam is a confident fellow and his talent and emerging bodyof work justifies a growing recognition from the public. For those involved, be they creator or listener, it can be a lifelong journey of giving and rewards. From the House of Lane, Tchicai, and CIMP to your house, this is a fine example of just that.
Robert D. Rusch - October 3, 2002
