DAVID BERKMAN
Communication Theory
Palmetto
PM2059

Berkman (along with drummer Matt Wilson, saxophonist Joel Frahm, bassist Ben Allison, and guitarist Pete McCann) is one of several excellent young artists whose work is documented on Matt Balitsaris' increasingly interesting Palmetto label. Berkman's second CD, Communication Theory is a refreshingly varied and personal take on the more adventurous side of the acoustic modern mainstream. Most of the pieces ("Interesting, Perhaps, But Hardly Fascinating Rhythm," "Blue Poles," "Weird Knock," "Back In The '90s," "No Crosstalk") are uptempo vehicles for Berkman's laconic, gently quirky themes, tartly voiced for various combinations of tenor, soprano and alto saxophones. There is one blues ("Blutocracy"), which Berkman and his cohorts invest with the menacing truculence of its namesake. The ballads ("Colby," "Really Little Waltz," "Remission") are dark and pretty, but never just dark and pretty. "Colby," for example, starts off as a trio piece, but opens up for a slightly skewed saxophone chorale during Berkman's solo. Communication Theory is broken up into three parts that represent different aspects of Berkman's personal fascination with "unavoidable imperfections." The first of these starts off with a chamber jazz feel, but then veers sharply away into some very effective free-form group improv. The second is a brief solo piano piece that possesses the same sort of skewed logic that inhabits Andrew Hill's work. The third is a showcase for one of the soprano saxophonists: whoever it is (I think it is Sam Newsome, but the liners do not confirm this), his playing here and on "Communication Theory #1" is as individualistic and daring as Jane Ira Bloom's. The soloing throughout the disc is uniformly strong. I especially enjoyed the way altoist Steve Wilson suspends broken phrases across bar lines, and utilizes unexpected combinations of rapid note flurries and slower more considered fragments during his solos on "Interesting…" and "Weird Knock." Wilson is no less effective on the ballads (e.g., "Remission"). Cheek has a sweet, round tone on the tenor, and his articulate playing could easily be mistaken for that of a more seasoned player, like George Garzone for instance. Brian Blade, as usual, is marvellous: his drumming continues to amaze me. Berkman, himself, is a highly appealing soloist whose playing, while not overtly radical, falls well outside of the pianistic influences I expect to hear in younger players (e.g., Evans, Corea, Hancock, etc.).

Dave Wayne

Track Listing: 1. Blutocracy (Blues for Bluto); 2. Colby; 3. Interesting, But Hardly Fascinating Rhythm; 4. Blue Poles; 5. Communication Theory #1; 6. Really Little Waltz; 7. Weird Knock; 8. Communication Theory #2; 9. Back in the '90s; 10. Remission; 11. No Crosstalk; 12. Communication Theory #3.

Personnel: David Berkman, piano; Brian Blade, drums; Ugonna Okegwo, bass; Chris Cheek, tenor and soprano saxophones; Steve Wilson, alto and soprano saxophones; Sam Newsome, soprano saxophone