Pianist Hilton Ruiz is sometimes known as “the original
Latin bebop pianist,” and it is certainly true that
he is equally at home in the Latin and straight ahead jazz
genres as well as being quite adept at mixing the two. His
latest CD, Enchantment, showcases this ability, and
confirms Ruiz’ spot as one of the finest living jazz
pianists around.
Ruiz leads a quartet comprised of himself, bassist Lisle
Atkinson, drummer Marlon Simon, and percussionist/conguero
Renato Thoms through twelve tracks that span the jazz repertoire,
including six of his own beautiful compositions and six versions
of tunes by others. He tackles the Miles Davis vehicle “Seven
Steps to Heaven”, Jimmy Heath’s “Gemini,”
“Black Narcissus” by Joe Henderson, Billy Strayhorn’s
“My Little Brown Book,” the Gordon Jenkins classic
“goodbye,” and “The Business Ain’t
Nothing But the Blues” by Rhasaan Roland Kirk (with
whom he worked). Special guest Chico Freeman is also on board
to provide his customary excellent tenor work on several tracks.
Right off the bat Ruiz lets you know he’s completely
comfortable with the modern jazz lexicon, as he and the rhythm
section rip through a 2:07 version of the Miles Davis classic
“Seven Steps to Heaven.” Drummer Marlon Simon
provides provocative fills a la Tony Williams, and Ruiz provides
the only solo, a steady rippling of notes that leaves no doubt
about his light touch and command of the piano. He follows
with three of his own compositions. “Enchantment”
is a charming, uptempo bossa nova that Ruiz again makes effortless.
Bassist Atkinson provides a good solo as well, with Ruiz gently
outlining the chords behind him. Providing the right balance
of Latin and modern post-bop jazz, it is in fact a completely
enchanting number.
Freeman makes his first appearance on the Ruiz composition
“I’ll Call You Later,” which sounds like
a long-lost Charlie Parker head. Atkinson takes the first
solo, followed by Freeman, whose tone is reminiscent of early
Coltrane channeled through Gene Ammons. “Sweet Cherry
Pie” is another Latin-tinged number, also featuring
Freeman. Again, the composition sounds almost familiar, but
not so much that one can put one’s finger on it. In
short, Ruiz is the rightful heir to composers like Jimmy Heath
and Joe Henderson, whose compositions are programmed next
in solo piano versions. Heath’s “Gemini”
allows Ruiz to interject plenty of blues inflections to his
runs, with the performance gradually taking on greater complexity
as it moves along. Henderson’s “Black Narcissus”
gets an introspective, somewhat restless reading, with the
pianist’s mind seemingly never at rest, always searching
out new harmonic perspectives.
Continuing to demonstrate his mastery of a variety of styles,
Ruiz next provides a charming pastiche of Thelonious Monk
on “Shades of Thelonious” with Freeman offering
up his best Charlie Rouse impersonation. It’s telling
that Ruiz sounds least like Monk when backing Freeman’s
solo; Monk’s skills as an accompanist were truly unique
and are not often taken into consideration by those seeking
to play like him. Of course, Ruiz is not really trying to
imitate Monk (who could, after all) but rather to pay tribute
to him, and this number does so admirably.
Billy Strayhorn’s “My Little Brown Book”
gives Ruiz the opportunity to demonstrate some stride chops,
again playing as a soloist. The version of Benny Goodman’s
theme, “Goodbye” is gorgeously handled as well,
with Atkinson providing some lovely con arco playing. Rounding
the set out are Ruiz’ “Home Cookin’,”
a boogaloo Latin soul number that allows Freeman to provide
a bit of squawking as well as giving Renato Thoms a chance
to shine on congas, and Roland Kirk’s “The Business
Ain’t Nothing But the Blues” on which Freeman
once again cuts loose with his bold, robust sound.
Enchantment provides a little something for everyone:
straight ahead bebop, post-modern modal jazz, easy samba,
grittier Latin jazz, some trio work, some quartet work, a
nice helping of solo piano, and a whole lot of different musical
styles. Pass it up at your risk.
