Dan Berkson‘s journey through music has taken him a long way and through a lot of styles to wind up producing this classic jazz album. Forming a funk band, playing in Chicago and then moving to London producing deep house 12″s, he eventually re-connected with his first instrument, the piano, just as the vibrant London jazz scene was kicking off.
Originally recording with Dave Wickins and Steve Watts, Dialogues, his first recorded break into the world of the jazz trio, finds him teaming up with bassist Andrea di Biase and drummer Jon Scott to tip a wink to past players and also stay firmly rooted in the current continually unfurling young jazz scene. A couple of tracks have assistance from Magnus Pickering and Alam Nathoo on horns, and this is just enough to scatter some other variety through the album.
The horns on opener “Unity” definitely have that searching, slightly tentative sound that is reminiscent of some ’70s pieces, a hushed but inquisitive feel, and the rhythm section swings in the way that evokes sharp suits and sunglasses on stage in small, smokey hotspots. It is a light and measured sound, the electric piano appearing like a series of speech bubbles, floating to the surface amongst the others. The production is lovely; clean and now, the organic movement captured and the seamless horn dialogues crisp and bright. “Momentum” suits its title with an earlier swing feel, the tentative, thoughtful piano full of surprising note choices. Dave clearly has an ear for improv, or it is just that he doesn’t know what will be the perfect final note in a phrase until most of the way through. It is clever phrasing that keeps the listener engaged but finds enough time for both bass and drum solos. Magnus’s dreamy playing on “Maggie’s Last Day” is like a slow moving breeze with the other players picking up after one another, the drums gliding below like a safety net, ensuring peace and tranquility.There is the odd touch of Bill Evans here and ther,e but also hints of Herbie Hancock, particularly on the feelgood dance propulsion of “Live Bait”. The dialogue between bass and piano is like two friends at a bar in the early hours; the drum barkeeper tidying up around them, but adding philosophical nuggets to the ongoing discussion. They do play well together, the rhythm duo being especially sympathetic to the differing moods of the piano. The phrasing on “Sketches” is elegant and just a little louche. It is a very cool, with a lullaby tempo, and here Jon Scott’s subtlety is unreal with the odd rimcrack or cymbal crash just enough to assert control over the repetitive piano motifs that highlight the finale.
The album bows out with the lugubrious “The Court”, the profundity of the piano scattered over the solemn rhythm. It is a sombre way to conclude on an album that covers plenty of ground in the way of tempos and styles, and although there are nods to the past, it is very much rooted in the now. Jazz is so vibrant at the moment and this album puts Dan right there with his finger on the pulse.-Mr Olivetti-
