It should not come as a surprise that tubist (he’s actually a multi-instrumentalist, but we’ll get to that in a minute) Jim Self’s most recent release, InnerPlay, is a delight to listen to. After all, Self is a consummate musician who currently earns a good living playing in film soundtracks in Los Angeles studios. He’s performed notable musical parts in films such as Lemony Snicket’s A Series of Unfortunate Events and Close Encounters of the Third Kind (his tuba was the sound of the aliens’ mothership). Self also spent time working in the innovative Don Ellis band and playing with vocalists John Hendricks and Mel Torme. His supporting case on InnerPlay is stellar, including reedman Gary Foster, tenor saxophonist Pete Christlieb, saxophonist Dan Higgins, and bassist Ken Wild, with nice arrangements by saxophonist Brad Dechter.

The album is carefully put together, culled from three sessions, done in March of 2001, May of 2003, and March of 2004. One of the saxophonists was a featured performer in each of the three sessions. On the CD, the sessions are mixed, giving the CD an overall flow that conveys a unified sense of style and performances that, back to back, sound like they were all done at the same time by much the same ensemble.

For those not familiar with the tuba (or the ‘fluba,’ Self’s own invention that combines the tuba and the flugelhorn) as a lead instrument in a jazz setting, InnerPlay will come as a really interesting surprise. The version of Herbie Hancock’s “Speak Like a Child” that opens the disc sounds a lot like any other contemporary jazz combo until the moment that Self’s tuba begins to play a counterpoint to Dan Higgins’ soprano sax. Self’s control of his large instrument is apparent right away, as he plays with a lightness that few would associate with the tuba. In fact, the burnished sound of Self’s tuba playing is no different than what one would expect from the best trombonists. A gorgeous arrangement of “There Is No Greater Love” finds Self, on fluba, dueting with tenor man Christlieb. Both musicians turn in heated solos that swing fiercely, propelled by a rhythm section of Tom Ranier, Steve Schaeffer, and Dave Carpenter.

“Pensativa” allows Self to demonstrate his control even in the tuba’s upper reaches, while Gary Foster offers a deep, resonant flute sound that is the perfect complement to the track. On the medley “I Loves You Porgy/Bess You Is My Woman” Self brings in harpist Gayle Levant. The harp is an instrument heard even less often in jazz than the tuba (can you name a jazz harpist other than Alice Coltrane?), but it lends just the right accompaniment to Self’s rendition of the melodies.

Two tracks that offer a bigger ensemble sound fall near the end of this outstanding, swinging CD. Dechter’s arrangement of Jobim’s “No More Blues” is dedicated to ‘Jon Hendricks with a nod to Don Ellis.’ It features not only Self, Higgins, and the usual rhythm section, but also adds guitarist Jim Fox and percussionist Brian Kilgore. Horace Silver’s “Strollin” gets a Supersax-style treatment, with Higgins, Foster, Dechter, and Christlieb playing together for the only time on the disc. With Self’s tuba providing the baritone bottom, this awesome saxophone section swings out like the best big band sections you can name. Self concludes with “Do You Know What It Means to Miss New Orleans” (dedicated to Betty O’Hara), and at the conclusion of the track he offers an overdubbed tuba quartet to bring it on home.
One thing I haven’t mentioned here is the inclusion of the Jay Rosen String section on InnerPlay. The strings aren’t bad, but string sections on jazz albums are always a bit of a problem. They can add a certain lushness to some tracks and fill out the sound of the ensemble, but overall they can also contribute a syrupy quality that does not necessarily add to the sound of the ensemble that is already in place. Here they do both at various times. It does help make the group sound more like a big band at some points, but at others one can’t help but wonder what the music would sound like with the strings removed. That’s something of a minor quibble, though, because those who like their jazz full and warm, with top notch, swinging rhythm sections and fantastic musicians who are given adequate room to solo, are going to find InnerPlay to be an unbeatable recording.