Popular Bassist Jim Whitney Steps Out with Two Bands and a New Album
Jim Whitney is one of the most in-demand bassists in both jazz and klezmer music – he’s Andy Statman’s righthand man on the low strings. Since he has so many sideman gigs, he doesn’t get a lot of chances to play his own material. Which is too bad, because he should be better known for his compositions than he is. It was good to see him leading an augmented quartet (there were special guests) through his sometimes enigmatic, often subtly witty originals at his first show of the year back in January at Barbes. He’s also got an album release show tonight, May 16 at 7 PM at 55 Bar, leading the quartet from his forthcoming release, Dodecahedron: Eric Halvorson on drums, Nate Radley on guitar and Bennett Paster on keyboards. Then he’s back at Barbes on May 22, also at 7 PM, with the core of that January band: guitarist Sean Moran, drummer Diego Voglino and flutist Michel Gentile.
The title of the new album – meaning a twelve-sided geometric figure – refers to the number of tunes on the album as well as Whitney’s frequent use of the twelve-tone system. As you might expect from a bassist, he introduces the opening track, Low Voltage, with an spaciously snappy, emphatic solo; Paster’s joke before Radley’s regal entrance is obvious but irresistible.
Kinsman Ridge maintains that darkly majestic atmosphere, Paster’s piano lightening as Halvorson develops a funky slink, Radley’s gravitas contrasting with the pianist as he shifts to twinkly Rhodes. The disorienting stagger of Rudy Blue matches Whitney’s refusenik changes, resisting resolution as Radley lingers and bends, menacingly, echoed from a distance by Whitney’s lurching solo.
Nap Time – a brave title for a jazz number, huh? – has 70s Morricone crime-jazz echoes and a sardonically spring-loaded groove, Radley’s incisions and Paster’s bubbles bobbing up over the bandleader’s lowdown slink. A gentle sense of wonder pervades Solar Shower’s echoey ambience, Whitney bowing a coyly familiar tune, the band going out in a big starry cascade.
Are You Kidding Me?! is aptly jagged and perplexed, its funky syncopation eventually coalescing around a catchy, time-warping reggae bass riff as Halvorson stirs up the dust. The even funkier Green Machine has gritty, catchy riffage from Radley, Whitney bowing wry gospel-blues
Feel The Heat, 2000 Feet is a diptych, an uneasily amorphous bass/guitar intro giving way to a slow rainy-day tableau. The band get funky again with Blockheads, Whitney’s gruff solo setting the stage for Radley to take it in a more celebratory direction
After Kodiak Zodiac, a Radley vehicle, Whitney nicks a famous Henry Mancini number for Cat Scat Blues, which they take far beyond any cartoon comparisons. The album comes full circle with Whitney getting playful by himself, with Midnight Tea.