TINEKE POSTMA
For the Rhythm
Munich/215
Records
For the Rhythm, the second release
by Dutch saxophonist Tineke Postma, bristles with the energy
and excitement of a mainstream jazz recording from the classic
period of post-bop, yet it sounds very modern despite featuring
no gimmicks, no samples or electronics. There’s just
the gorgeous sound of Postma’s alto and soprano saxophones
and the beauty of her intelligent yet swinging compositions.
Postma has studied extensively in both her native Holland
and the United States, and her mastery of her instrument
and of composition shines through on this release.
Guitarist
Edoardo Rrighini is a perfect foil for Postma, providing
lush chords and often spicing up the melodic line with his
deep guitar sound, while pianist Rob van Bavel provides
driving, reaching acoustic piano work on the opener, “Summersong,”
and a deep bed of sparkling Fender Rhodes sound on “Comprehension.”
All the while, drummer Terri Lyne Carrington, a champion
of Postma’s playing, keeps things lively and textured
with her vigorous drumming. The group is tight, yet gives
the impression that there’s lots of room for spontaneity—nothing
is too pat, but everything is just right.
It’s rare these days to hear a jazz
recording that is utterly contemporary yet not filled with
sounds of the moment that will sound dated in a couple of
years. Postma is a smooth player in the sense that she has
great tone and expresses good ideas through her horn, but
there’s nothing ‘smooth’ in the sense
of lacking substance about For the Rhythm. The
opening track, “Summersong” sets the stage perfectly.
After a brief setup by piano, bass, and drums, Postma’s
soprano sax arrives to drive the composition forward. Her
fills have the edge of John Coltrane’s soprano work,
with none of the overly prettified soprano sound of the
purveyors of pap who have sought to ruin the instrument.
Right away, this band establishes itself as one with great
energy and enough good ideas to hold the listener’s
attention. Carrington explodes with echoes of the best of
Tony Williams, and van Bavel turns in a nice McCoy Tyner-esque
solo that keeps the energy level high.
Kenny Barron’s composition “Voyage”
finds Carrington and bassist Jeroen Vierdag leapfrogging
each other in a game of rhythmic tag, while Postma displays
her bright alto sound and chops. “Pump It Up”
offers a flowing 6/8 lilt and features Righini in a John
McLaughlin mood that turns up the heat. Postma is a bit
more laid back, riding the rhythm section’s waves
in a relaxed manner that demonstrates her total control.
Other standout tracks include the beautiful “Song
for Sea-Tee,” with Righini providing acoustic guitar
work that recalls some of John Abercrombie’s ECM albums
(in fact, the track itself could easily be a lost ECM track);
a rendition of Gordon Jenkins’ “Goodbye”
played as a duet between Postma and van Bavel, and Alex
North’s “Love Theme,” an excellent vehicle
for more of Postma’s admirable soprano work. The disc
ends with the title track, a bouncy theme that rolls along
merrily to its conclusion as effortlessly as a ball rolling
downhill.
Tineke Postma is an exciting new jazz voice,
and one that we’ll no doubt be hearing a lot from
in the future. For anyone who wants to hear energetic, straight
ahead jazz that is at once modern and wholly within the
mainstream jazz tradition, For the Rhythm is a
sure bet.
