This date is both a revisit and an update. John Gunther's (1966, Denver, CO) trio (Leo Huppert [1959, Baltimore, MD] and Jay Rosen [1961, Philadelphia, PA]) first graced The Spirit Room back in January of 1997 and it has been at the heart of all of John's four previous CIMP sessions.

The impetus for this date was to revisit the basic trio, almost eight years after its recorded debut, and to get an update not just on the trio as a unit but on John Gunther's compositions. For, as well as the unit plays, for me it is his forty-plus compositions that he has exposed on his previous recordings that are a compelling charm in and of themselves. Andwhile John has an interest in modern notated music—and, in fact, has recorded a CD of Webern's music—John's own compositions are an easy listen. That's not to imply they are vacuous. On the contrary, more often than not, they twist and turn in tempo and tone in a variety of segues. But the compositions are also welcoming with their cozy curlicue expositions and Guiffre-esque use of space.

There's an easy familiarity with this group, spearheaded perhaps by Leo's affable way and quick wit which bounces off Jay's counterpunches all of which seems to catch John off guard in his wide-eyed focus. It's an affability that is often also reflected in the music. In fact, during much of the first evening, to my way of thinking, there was too little tension and this knocked some of the edge off the music. As for the edge, it was of little concern to me for it had been John's stated intention to run through all the pieces once and that might have produced some moments of perfunctory statement. It is the luxury of space and time and each leader has his own way of using it to the goal of musical excellence. And, as Jay and John both reminded me, it would be the second day—aswas the case in their previous outings—from which the majority of the release would be drawn.

In addressing the material the next morning, John opened with the last piece from the previous night, Marksman. This is a slightly deconstructed revisit to a composition first displayed on CIMP 136 and here—further pared down by almost three minutes from the previous night—is addressed with a concise fat-free focus. With little fanfare the group then went into Sneaky Blues, wonderfully executed by all with a discipline quite complementary to its orderly bounce. Get the Low Down followed and then Waltz for Paige, a lovely piece of contrasting tensions that for me had been one of the higher points of the previous night's music. This time out, at Jay and Leo's suggestion, the structural arrangement was slightly modified and a good take was replaced by a better, more dynamic one.

With this quick run of musical successes, my anxieties began to dissipate and I began to interpret John's calm demeanor, of the night before, as knowing assurance and confidence.

There are many facets that make up any successful musical exposition. Listen for example to Another Stroll. There is the themeitself, the precision with which it is played, the role of rhythm strongly dovetailing in and out of the spotlight, the variety of tensions utilized (exchanged and drawn out by the trio), and the independence of humor and drama employed at different times by each artist. Focus on these properties and they can seem overt. But, taken in context and as the whole, it suggests a subtle, even mellow, impressionism: contrasting parts into a concert whole.

So there is a method that works for John and, in turn, the trio. Just add time and space to talent and—voilà—a rewarding listening experiencefor your ears. Or so is my hope.

Robert D. Rusch - 10/13/04