2. The Best of Kansas City Jazz

As I mentioned in my earlier article about Joe Cartwright, he performs every Thursday in a piano trio with invited guests -- world-class musicians and others he admires in Kansas City. He long entertained the hope of releasing these recordings as a series of CDs, and at long last, this has come to fruition with the arrival of volumes 1 and 2.

Because these are composed of selections of his live performances, the arrangements unavoidably limit nearly every guest musician to one song, occasionally two, yet even so, a considerably large number of guests seem to make an appearance. On these two albums, 13 guests engage in impassioned performances -- live, of course -- with the Joe Cartwright Trio. Many of these are musicians' names are not well known in Japan, but this series might be the catalyst for enhancing awareness of the Kansas City jazz of today.

Volume 1 includes the one and only appearance of the mighty Bobby Watson on song 3, the trumpet of Stan Kessler resounding on 6, the enjoyment of the full tones of Kim Park's alto sax on 9, and Mike Metheny, who opens new vistas through his mastery of the electronic valve instrument on 10. One after another, every track you listen to pulls you in and makes you want to hear one more.

Volume 2 includes the thrill of Wayne Goins' masterful and groovy guitar on song 1, and Duck Warner, with his characteristic nimble and smooth phrasing far unlike the heaviness that is all to common to baritone voices, appears on both 2 and 8. Song 9 is driven by the cool and accurate melody delivered by Danny Embrey on guitar. Kim Park and Mike Metheny each demonstrate an approach unlike that found on Volume 1.

Listening to this series, I believe that Cartwright's intent is to elicit the spontaneous surprise that is one of the major appeals and attractions of jazz, and at this he has definitely succeeded. What's more, even as tradition is solidly maintained here, lurking within are diversity and potential that dependably lead to new improvisational landscapes, even as the point of view embraces the present as well as the future.

Incidentally, it seems that the musicians who are having the most fun here may be the Cartwright Trio. Trio regular Gerald Spaits is a bassist frequently called upon by big names who visit Kansas City, and on this series as well, he supports the unit with flexible bass lines and creatively original solos on nearly all arrangements. Tommy Ruskin is a veteran of abundant experience, having played with Zoot Sims, Clark Terry, Carl Fontana, and others, and also works with his wife, vocalist Julie Turner. His sensitive play has earned high acclaim and made him a sought-after player. On song 9, the congenial bass and guitar of Gerald Spaits and Danny Embrey is most satisfying. And through it all, runs Cartwright's keyboard with unrestricted energy. What's not to enjoy?

—Nobuto Sekiguchi, Jazz Critic, JazzTokyo