Jazz Suite for Bassoon (CD review)

Daniel Smith, bassoon; The Caravaggio Ensemble; various musicians. Summit Records DCD 656.

According to Daniel Smith's Web site, "with his many critically acclaimed award-winning recordings and live performances, Daniel Smith is the most recorded bassoon soloist in the world, with a repertoire spanning music from jazz to classical and crossover. As the only bassoonist performing and recording in both jazz and classical, his unique career has been profiled in numerous publications; described as the 'Gerry Mulligan of the Bassoon' in the world of jazz, and the 'Rampal of the Bassoon' in classical music."

Smith tells us that in the mid Nineties, French jazz pianist Jacques Loussier, well known for his jazz arrangements of classical music, inspired his own pianist, Bruce Boardman, and him to try their own hand at redoing a few Baroque pieces for bassoon and jazz band. The success of these numbers led to several other selections on the present album, recorded some twenty years ago and remastered here. So the idea for the arrangements was neither new nor novel for Smith; the execution of the idea, however, is quite fetching, which is why, I suppose, we are getting the present disc in better-than-ever sound.

First up is Boardman and Smith's initial concept, Baroque Adaptations for Bassoon and Jazz Trio, featuring Smith on bassoon, Boardman on piano, Terry Davis on bass, and Martin Drew on drums. The adaptations include the Allegro from Antonio Vivaldi's Concerto in B-flat; William Byrd's Pavan: The Earl of Salisbury; Henry Purcell's Air on a Ground Bass; Vivaldi's Largo from the Concerto for Bassoon and Strings in C major; and J.S. Bach's Badinerie from the Orchestral Suite No. 2.

Next up, we get a surprise. Having just presented Baroque music from a modern jazz ensemble, Smith gives us a few Scott Joplin rags from a Baroque ensemble, The Caravaggio. The musicians here are Smith on bassoon; Jonathan Still, piano; Paul Manley, violin; Boguslaw Kosice, violin; Kate Musker, viola; Justin Pearson, cello; and Michael Brittain, double bass. The Joplin numbers include "The Chrysanthemum," "The Easy Winners," and "Original Rags."

The final item on the program the Jazz Suite for Bassoon, an original composition in three movements by Steve Gray. It combines the flavors of both old and new, classical and modern. The musicians here are Smith, bassoon; Steve Gray, piano; Mitch Dalton, guitar; Jim Lawless, vibraphone; Roy Babbington, bass; and Mike Smith, drums. Gray has titled the movements "Allegro," Ballade," and "Finale."

Daniel Smith

One can easily understand why fans love Smith's bassoon playing. The emotional impact alone should convince any listener of the man's talent, whether it's classical or pop tunes he's playing. The only drawback might be that this kind of crossover material may not appeal to diehard classical or jazz fans, both of whom could reject it as not being "pure" enough. I dunno. For me, it just sounded enjoyably laid-back, no matter what one calls it.

I've always thought of the bassoon as being to the reeds what the cello is to the strings. That is, it has a wonderfully mellow tone and can easily convey the nuances of the human voice. Therefore, the instrument sings most naturally and pleasantly, and Mr. Smith exploits these qualities throughout his playing.

The opening suite of Baroque tunes offers mostly relaxed, atmospheric interpretations that go a long way to soothe the soul. Oddly, I found the Joplin numbers a bit more disconcerting played by a classical ensemble than I did the Baroque material played by a jazz group. Be that as it may, after making a few mental adjustments, the listener should be able to enjoy the music, which again sounds easy and comfortable rather than fast or shrill. The closing jazz suite is really the only thing on the program approaching actual jazz, again laid-back, easygoing, and agreeable.

My only real complaint: The album's too short. At just over forty minutes it hardly gets started than it's over. I know we're looking at quality over quantity here, but still, for a program that makes some gestures toward the classical field, the classical listener probably expects more.

Daniel Smith produced the album in 1995-97 in London and engineer Tom Lazarus remastered it at StadiumRed Studios, New York City in 2015. I can see why the producers wanted to remaster the album; the sound is quite good. It's somewhat close-up, though, in a typically pop-recording style. But it's nicely defined, especially the low end, which has a crisp bite and taut definition, and the high end, which shows good extension. The bassoon rings out mellifluously, and the other instruments appear well defined as well, in a smooth, round manner. While the ensembles do sound close, as I say, there is plenty of air and space around them, with a warm ambience and a nice spacing for depth. The recording shouldn't disappoint anyone.

JJP

To listen to a brief excerpt from this album, click here: