 Roger Kellaway Roger Kellaway never really got a moment in the sun, but listening to this album it's difficult to justify why not. Not quite as joyously catchy as Vince Guaraldi nor as academic as Dave Brubeck (both of whom he might be compared to), Kellaway has a noticeably unique style in the overcrowded field of '60s jazz pianists. "Organ Morgan" is not, but should be, an overplayed jazz standard, as accessible and jubilant as any Guaraldi tune, but with more gospel flavor. The tune showcases the entire trio (Russell George is the bassist, Dave Bailey the drummer) with some great sliding notes from George and some pounding tambourine from Bailey. "One Night Stand" is like some reimagined bossa nova, featuring Kellaway's earthy yet impressive playing, drawing no direct stylistic comparisons. A slow, late-night take on "I'll Follow The Sun" turns the bright original into something you might hear over the opening credits of a Woody Allen movie, if Woody Allen listened to any jazz past 1939. The intentionally annoying "Brats" gives both Philip Glass and Ahmad Jamal a run for their money, leading into the release of "Can't You See It," which is almost rag-like in parts. Track six is yet one more version of "Sweet And Lovely" (the Monk influence by now making itself felt), followed by another idiosyncratic Kellaway tune, "Signa: O.N." "Ballad of the Sad Young Men" is a Bill Evans-like piano solo, then back to the warm bluesiness of "No More" (probably the best cut on the album behind "Organ Morgan.") How this white guy from New England manages to exude so much gospel spirit is beyond me. The last track is another semi-dissonant one, "The Fall of Love." Kellaway's quirky approach never lets you know where the album is going, but that is not to say that the album lacks coherence. Actually, I'd say that this is one of the more surprising and wonderful jazz trio album's I've encountered. The simple trio, by 1965 when this album was recorded, was being overshadowed by some of the more radical developments going on with horns (the "New Thing" artists on Impulse! and the Miles Quintet, to name a couple), but it's nice that we can rediscover artists like Roger Kellaway in this golden age of CD reissues. Kellaway made a name for himself as a pianist and arranger, and later (I just noticed) composed and played the closing credits theme for "All In The Family." (Well, Dr. John did the "Blossom" theme, so let's not get snooty.) This is a gem of a record that tickles all my ivories. Special props to Original Jazz Classics: you've hit your stride.
Review by Jacob Ocular-Migraine |