TAYLOR EIGSTI
Lucky To Be Me

Concord

Read the Jazzitude review of Erin Boheme/What Love Is
Read the Jazzitude Review of Christan Scott/Rewind That

Pianist Taylor Eigsti is one of Concord Records’ new generation of jazz artists who, along with trumpeter Christian Scott and singer Erin Boheme, looks poised to claim his share of listeners. Eigsti, who was raised in Menlo Park, CA, has been around for a few years, making a mark as something of a prodigy. His previous album, Resonance, released on the Bop City label, remains an impressive pianistic display, but his first Concord release, Lucky to Be Me, demonstrates how much this young player has grown over the past couple of years. Evidence of a personal style is beginning to show through, and I’ve no doubt that in another release or two we’ll be looking at Taylor as one of the premier jazz pianists around.

Eigsti demonstrates a remarkable ability to access styles and to vary the piano trio sound (although not all tracks here are played by a trio, most are) so that it never becomes formulaic or dull. Most of the time he is accompanied by drummer Lewis Nash and bassist Christian McBride—heady company indeed for a young pianist, but Taylor shows he’s up to the task, playing with a sensitivity to the dynamics of the group that shows he understands that it’s as necessary to listen as it is to be listened to. Not only that, but Eigsti makes out well with several of his own compositions, from the vaguely Jarrett/Metheny-esque “Get Your Hopes Up” to the moody “Argument,” on which he demonstrates that he’s also developed a real affinity for electric piano as well.

It should say a lot that Eigsti choses to open Lucky to Be Me with a cover of Coltrane’s “Giant Steps,” and it says even more that his introduction is out-of-tempo and balladic. The first time this CD hit the player I thought “well, sure, anyone could play 'Giant Steps' as a slow ballad—it’s not a terrible idea, but it seems a bit like cheating.” Rest assured, Eigsti kicks up the tempo less than a minute into the track and he never looks back. Driven by Nash and McBride’s high energy rhythmic kicks, he delivers an outstanding solo that lets the listener know he’s dead serious about making an impression. And though he’s got technique to burn, that never feels like the motivating factor. Instead, that technique allows him to express his musical ideas freely, and the things he has to say are pretty interesting.

Though Taylor still plays a fairly straight ahead brand of jazz piano, there is plenty here to suggest that he knows the direction the most innovative piano trio players are taking and he’s able to go there as well. At times he is reminiscent of French pianist Michel Pilc, who is expert at taking well-worn pieces of the jazz repertoire and deconstructing them. Taylor doesn’t go quite that far with his version of “Love For Sale,” but he does offer enough of his own arrangement that it doesn’t sound like just another run through. His version of Bjork’s “I’ve Seen It All” utilizes an alternate rhythm section of Billy Kilson on drums and James Genus on bass, along with trumpet from Greg Adams and sax by Eric Marienthal. It’s a gorgeous reworking of the song, and demonstrates that Taylor has also been paying attention to such pianists as Brad Mehldau. Another guest who appears on several tracks is guitarist Julian Lage, who, like Eigsti, has been playing professionally from a very young age and has worked with David Grisman, Gary Burton, and Herbie Hancock. Lage lends his guitar work to Eigsti’s “Argument,” a cover of “Woke Up This Morning,” and a duet with Eigsti, titled “True Colors.” At all times he proves himself to be a tasteful and supportive ensemble player as well as a gifted soloist.

Eigsti has some neat tricks up his sleeve on the CD's second half as well, taking a romp through the “Promenade” theme of Mussorgsky’s “Pictures at an Exhibition” that is neither dull and pompous nor lacking in respect for the thematic material. His lightning fast version of Eddie Harris’ “Freedom Jazz Dance” again shows his technical prowess, but also makes the listener pay close attention to this very fresh version of the modern jazz standard. Eigsti concludes with a solo rendition of the Bernstein/Comden/Green title track that shows his romantic side.

Lucky to Be Me shows a great talent at work. Although Eigsti’s playing isn’t yet totally mature, he has all the right instincts to go with the massive amount of talent with which he is gifted. It’ll be very interesting to see what he does next, but in the meantime, Lucky to Be Me is a disc that belongs on heavy rotation in any jazz fan’s CD changer.