Tomonao Hara New York Quartet

Shinjuku Pit Inn July 22, 2004

Tomonao Hara—trumpet
Johnathan Blake—drums
George Colligan—piano
Hans Glawischnig—bass

Tomonao Hara has worked with several incarnations of his “New York Quartet,” but this evening was perhaps the finest yet. The quartet started slowly, working steadily upwards and onwards with workman-like bop technique, but in the second set, they exploded. Every quartet works for those moments when all the members think and feel the same, and the second set held many of those moments.

Hara’s trumpeting showed a finer, more nuanced polish than ever before. He held notes for unusually long breaths, then released them with sharp intensity. He played more softly and more in control than on his CDs (usually for most players, it’s just the opposite). His rapid flow of ideas never overtook the sense of delivery. Even when the quartet cranked up, they all focused on execution of tone and sensibility, rather than letting the speed and good time run away with themselves.

All four musicians being relatively young, that balanced control is a little surprising. Equally surprising was the reaction of the crowd, one of the youngest crowds for modern bop at the Pit Inn that this reviewer has seen. They knew right where the group was going, though, and followed their every direction, whether lyrical, tonal or simply fast. You don’t get attentive, into-it crowds like that every night, but likewise for quartets.

Johnathan Blake on drums kept the quartet rolling onto ever-finer territory. Using a low-angled, high-chair set-up, his drums added lightness with finely placed break-ups of the beat. His style blends cushioning with drive, giving room for everyone to relax naturally into their solos. His tour of Japan last spring with his trio ensured that many fans were in the audience. Hans Glawischnig’s bass kept the group anchored solidly with his vast and deep experience (check out his CD, “Common Ground” on Fresh Sound records for more of his meaty bass work and excellent originals).

George Colligan on piano was the spark that ignited many of the songs, though. He worked through steady opening lines, then simply could not refrain themselves from bursting open into inventive solos. The energy was infectious and everyone in the group piled on for robust trades of choruses and take-outs. The four of them again and again t transcended the compositions, which were already excellent, for further and further explorations.

The group was scheduled to continue their tour through Japan. If the audience at the Pit Inn was any indication, they will continue to be swamped with inspired and appreciative fans. (Michael Pronko)