Facing Left
Along with such players asGreg Osby,Stefon Harris, andMark Shim, Jason Moran is making jazz that reflects myriad influences, from the traditional bop guard to Icelandic techno artist Bjork to contemporary classical and beyond. But theirs is not some studied attempt at a new music, or a stab at solo stardom created by labels and producers.Facing Left, like theNew Directionsgroup and Harris's laudedBlack Action Figure, is serious, evocative, gripping, and explorative jazz. With dense, involving support from drummer Nasheet Waits and bassist Tarus Mateen, Moran beginsFacing Leftwith the delicately erotic maze of "Later." "Thief Without Loot" darts over funky grooves with both acoustic and Rhodes piano, kind of a twinkling tightrope walk. Bjork is a favorite among many young musicians, and here Moran covers her moonlight missive "Joga" with elegance and a touch ofThelonious Monk. In fact, Monk surfaces often here (try the rambunctiousDuke Ellingtontrack, "Wig Wise"), mostly in Moran's touch. Also present is the luminous grace ofKeith Jarrett, the logic ofHerbie Hancock, and the lush romanticism ofClaude DebussyandMaurice Ravel. Using rhythm like a conjurer's wand, Moran employs weird, stumbling beats in "Yojimbo" and "Battle of the Cattle Acts," while "Murder of Don Fanucci" rides a staggering military march.--Ken Micallef