DAWN CLEMENT
Hush

Conduit Records

Read the Jazzitude review of Julian Priester/In Deep End Dance
featuring Dawn Clement on piano

The opening statement of “Early Morning Rose,” from Seattle-based pianist Dawn Clement’s debut recording as a leader, Hush, is stately and hymnal. Nearly half the tune is given to developing its thematic statement before the piece breaks into an energetic modified bossa nova rhythm. Clements is capable of both Bill Evans washes of color and Thelonious Monk brusqueness, often within the same solo. Her core trio of bassist Geoff Cooke and drummer Jose Martinez (who offers some nice mallet work on this opening track) keeps up nicely, offering both support and encouragement.

Clement’s obvious technical proficiency honed by study of classical music as well as jazz comes in handy in interpreting the Ellington/Strayhorn composition “The Star-Crossed Lovers” from the Shakespeare-inspired recording Such Sweet Thunder. Clement is able to bring out the mood and texture of the composition and emphasize elements that make it seem completely modern, while incorporating more classic elements sometimes associated with Ellington’s piano work—a nod towards stride piano and the Harlem piano professors.

Just when some might be tempted to dismiss Dawn as an overly delicate player without downhome chops, along comes the track “Big Fat Blues” to disabuse such naysayers of that notion. Again, Clements demonstrates a certain kinship with Monk, but remains evocative rather than imitative of her influence. The adjective that comes most quickly to mind in regard to Clements’ music is ‘intelligent.’ She swings with ferocity, yet is able to offer the right touch of finesse and sophistication when desired. “Venus” is an impressionistic duet between Clements and woodwind player Hans Teuber, here playing soprano sax.

Teuber is also on board for the lengthy free jazz piece “Tension Tamer.” While Clement and Teuber improvise various lines simultaneously for much of the piece’s ten-plus minutes, the star turn here would seem to belong to drummer Martinez as he fitfully punctuates and comments on the statements of the others. It’s followed by the beautiful lyricism of Astor Piazzolla’s “Coral,” a duet between Clement and Teuber (this time on clarinet) that provides one of the album’s most unequivocally beautiful performances. “Alone Together” is a piano/drum duet that opens very freely and works in more of the song’s melody as it progresses.

Clement is able to play both a supporting role as part of the various ensemble groupings on the album and step out front as a soloist and leader. Her playing and compositions are reminiscent of Andrew Hill as well as, at times, Lennie Tristano. She can, as noted previously, be Monkish, but also demonstrates the kind of ability to mix jazz influences with classical piano technique that was evident in Duke Ellington’s work. In short, she has lots of chops but never allows technique to become her raison d’etre. Instead, her formidable technique is used in the service of communicating complex musical ideas in the most direct manner possible.

Hush ends with Clement having a little bit of fun, covering the Tom Waits song “Midnight Lullaby.” She eschews the piano for the microphone, contributing a simple, guileless vocal performance that recalls Blossom Dearie. It provides a nice coda for the album, but the real news on Hush is Clement’s talents as a pianist and a composer that we’ll no doubt be hearing much more of in the future.