By Dave Brownlow
San Diego based pianist/composer Danny Green, with his fifth album, leads his Trio and a String Quartet from the San Diego Symphony Orchestra through an attractive programme of original chamber jazz.
At times, the strings provide background figures and harmonies much as a conventional sax section might do in a jazz orchestra and, at others, interject their own strong segments further developing the compositions.
Green’s original inspiration came from the ground-breaking 1966 project/album “The Bill Evans Trio with Symphony Orchestra” but other more recent material, notably from Herbie Hancock, has also provided ideas. Green has a lovely ‘touch’ at the keyboard and all of the musicians are more than competent.
Time Lapse to Fall is a lively, cheerful piece built on a simple repeated phrase using a major to minor key which represents the seasonal movement from Summer to Fall with the vigour of a summer’s day leading to cascades of falling leaves.
As the Parrot Flies opens with pizzicato strings and a cleverly constructed ascending, chordal-based melody. The Trio then play collectively in an Evans/LaFaro/Motian style in a pleasing phase including glittering right-hand flourishes from Green leading to the concluding theme with strings fully integrated.
The title track, One Day It Will, is played in a gentle, ruminative style, drifting along in a pastoral way. View from the Sky flows elegantly – the chord sequence seems familiar – it’s probably drawn from classical sources.
Lemon Avenue, a waltz, includes ‘singing’ piano lines, delightful string writing, a lively bass solo and a generally wistful vibe.
November Reveries; a chord sequence with many twists and turns – effective in its own way – echoing some of the writing in Charlie Parker’s ‘Bird With Strings’ band.
Sifting Through the Silence is a thoughtful ballad, chordally strong that meanders along. Again the string playing, which is more than compatible, enhances the track.
In October Ballad, the minor-keyed theme and variations are a little ‘Chopinesque’ to this listener. A graceful tempo with subtle string contributions adding to this mood.
A Snowy Day In Boston seems like the second movement of a suite in the same minor key as the previous track, where flurries of snow dance in a graceful ‘gavotte’ as the band hurries through the song…
Finally the closer, Down and Out, is in a restrained, bluesy, boogaloo tempo. The piano solo winds its way through energetic string background figures leading to a vigorous bass solo and a final reprise of the theme.
Overall, a thoughtful CD, the result of much hard work from many, where “the intriguing possibilities of integrating classical harmony and form into the jazz context” have been successful.
See review at Bebop Spoken Here