Beginning in the late 90s, Posi-Tone Records honcho Marc Free picked an unlikely moment to launc a jazz record label, started with the core of the Smalls scene and branched out to the point where he not only found success, but also got a handle on who works best with who else. So lately he’s been assembling specific groups for specific records. The most appropriate one for this particular moment in American history is Idle Hands’ lively, relentlessly catchy debut – and probably only album – Solid Moments, streaming at the Posi-Tone site. For all out-of-work musicians, this one’s for you!
Vibraphone Behn Gillece contributes the opening track, Barreling Through, a gorgeously bittersweet, shuffling late 50s-style rain-on-the-store-windows tableau. Tenor saxophonist Sam Dillon and guitarist Will Bernard pierce the mist; pianist Art Hirahara, bassist Boris Kozlov and drummer Donald Edwards nimbly negotiate the droplets.
Bernard’s first track here, the clave-jazz tune Silver Bullet, is a showcase for Dillon’s nebulous, uneasy intensity. Kozlov’s Over the Fence has a characteristically Russian, sly bluesiness. Edwards may not be known as a composer, but that perception should change after people hear the briskly swinging Snow Child, with unsettled chromatics from Gillece and tightly conspiratorial chugging from Hirahara and Bernard.
Hirahara’s matter-of-factly crescendoing Event Horizon begins as an easygoing, vampy late 70s style groove and continues until Dillon’s flurries push it into darker territory. Gillece’s second number, Maxwell Street has a stern, blues-infused undercurrent driven by spiky work from Bernard and Hirahara, seemingly a shout-out to the legendary Chicago busker scene that lasted into the 60s.
The first of only two covers here, Stevie Wonder’s You And I translates decently to a samba. Bernard’s second tune, The Move has a briskly catchy tiptoe swing and lots of cool offbeat riffs from Hirahara and Edwards, plus similarly spiraling solos from guitar and vibes. Ashes, by Kozlov is the album’s most gorgeous track, Hirahara kicking it off with an angst-fueled, glittering solo, the rest of the band joining in a hazy, slinky, moody intensity.
Edwards’ second number, Dock’s House shifts between swaying funk and steady swing: it’s intriguingly bizarre that way. Dillon’s lone composition here is Motion, a pensive jazz waltz with a wry Coltrane paraphrase. They close the album with a lickety-split take of Freddie Hubbard’s Theme For Kareem, which beats Grover Washington Jr.’s Dr. J in the NBA hall-of-famer game of horse. Grab someone energetic you love and snuggle up with this album.