Ryuichi Takase

Takase's sextet approaches jazz with meticulous care, respect and conscious workmanship. The sextet has nearly a perfect balance, with every member contributing the right element to make the whole greater than just the sum of its hard-working members. Slipping in to the straight-ahead swing of the group is a huge pleasure, and what jazz is supposed to be about.

Takase's sextet chooses strong, solo-inspiring tunes. Thelonius Monk's "Ruby My Dear" was played with respect, but a fun sense of respect, and definitely from the inside. Other standards like "Isfahan" and "In a Sentimental Mood" were arranged with a sensitive and deft attention to what rhythms, moods and order would bring out the best in the song and in this band. Solos were not timidly respectful, but bold, on top and nuance. In a sextet that brings such intimacy to the stage, the musical conversation of strong, individual voices sounds fresh, as if the songs were minted just yesterday.

Yet, it was on the slightly lesser known numbers that the sextet really shone. Ray Bryant's "Tonk" was played at a brisk tempo with deep swing. The rhythm section kept constantly unexpected variation to its taut forward thrust, punctuating the melodic lines at just the right spots. Joe Henderson's "Mo' Joe" which closed the night had a hard drive with big, bold solos. Everyone had their moment to shine.

No one was showing off during their moments out front, but none of them really needed to, their musical egos were submerged and united in the music, which is always the mark of a great group. By not overplaying, they played above and beyond what most too-intent groups ever manage. The front line and rhythm section fit seamlessly and effortlessly. The confident comfort of this sextet is startlingly different from most configurations in the city. And that makes for great listening.    

The several ballads were especially delicate, with pretty single tones just floated up in the air for individual consideration, while "Milestones" jumped up the tempo to propel brilliant long lines of nimbly, quickly hit notes. At whatever tempo and take, though, the sextet sounded natural. The ease of playing respected standards in their own, clear fashion set every tune aglow, and reminded the audience what is best about jazz.

October 5, 2007