The New York Standards Quarter

CD cover

Sleight of Hand

It’s now approaching twelve years since the New York Standards Quartet  came into being, its core personnel taking time out from their multifarious individual projects to revel in the shared brief of refashioning familiar and lesser- known jazz standards.

Their new release Sleight of Hand builds on their catalogue of five previous albums (most recently, The New Straight Ahead and Power of 10, on Whirlwind) as saxophonist Tim Armacost, pianist David Berkman and drummer Gene Jackson welcome double bassist Daiki Yasukagawa back into the fold.

This is a band that regularly plays and performs together, so there’s a common bond, which brings out the best in the arrangements they conjure.

Recorded at the end of an international tour – in the beautiful, mountainous location of Lake Yamanaka, close to Mount Fuji (the quartet enjoys a special affinity with Japan) – Sleight of Hand’s eight numbers reflect the band’s spontaneous, transformational approach, with the title track (based on Gershwin’s ‘But Not For Me’) irresistibly playful.

The various key modulations in Lover Man are a world away from Billie Holiday’s lingering vocal lines as Armacost’s spritely soprano responds swiftly to Jackson’s syncopated drum accents.

1940s song Detour Ahead – perhaps mostly familiar in composer Herb Ellis’s guitar setting – translates into a luscious tenor and piano-led ballad, sensitively buoyed by Yasukagawa’s bass shaping; Jules Styne/Sammy Cahn favourite I Fall In Love Too Easily is treated to sparkling, percussion-led animation; and Armacost’s rich tenor lyricism in Duke Ellington’s In a Sentimental Mood is ravishingly restrained.

Mal Waldron’s Soul Eyes and Thelonious Monk’s Ask Me Now swing with respective vibrancy and jauntiness, while the metrical changes and perky rhythms of ‘This I Dig of You’ pick up on Hank Mobley’s classic Blue Note album origins.

And though the quartet likes to pull out obscure tunes, it’s also important to include touchstones for you can relate to them emotionally and there’s still a lot of awareness there. These are such great melodies, you can do almost anything with them – and, as always with improvisation, that sense of ‘what’s happening today?’ remains exciting. It’s all about a moment with Sleight of Hand.

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