Greg Abate

Given that the jazz world, without straining itself unduly, has managed
to accommodate everything from harps and koras to steel drums and EWIs, in
'fusions' of all conceivable types, it was heartening to see manifest, in
the person of saxophonist Greg Abate, proof that one of the music's
linchpins, the touring virtuoso soloist able to energise pick-up bands
wherever he stops to play, is alive and flourishing. Born just as bop was
being established, and with an extraordinary wealth of live experience
behind him (including a stint, replacing Eddie 'Lockjaw' Davis, with the
Ray Charles Orchestra), Abate might be expected to embody the core jazz
virtues (swing, imagination, resourcefulness, spontaneity), and his first
selection, 'Star Eyes' (an alto staple over the years, played by everyone
from Charlie Parker to Art Pepper and Phil Woods) duly delivered all these
qualities. His sound sweet but ebullient, pleasantly piercing yet
pure-toned, Abate raced through the tune's changes, not only effortlessly
showing off his own technique but providing pianist John Donaldson,
bassist Oli Hayhurst and drummer Matt Fishwick with the perfect warm-up
vehicle. An original F minor blues, 'Contemplation', followed, and –
interspersed with the odd heart-on-sleeve ballad such as 'Angel Eyes'
– mid- and up-tempo jam-session staples ('On Green Dolphin Street',
Charlie Parker's 'Air Conditioning', etc.) brought eloquent, agile,
heartfelt and affecting solos from Abate and slightly more circumspect
contributions from Donaldson and the rhythm section. Benny Carter's 1930s
classic 'When Lights are Low', and a contrafact of Billy Strayhorn's 'Take
the "A" Train' underlined the fact that players such as Abate operate with
as much ease in the pre-bop repertoire as in out and out bop flagwavers,
and overall, this was a thoroughly enjoyable performance from a consummate
professional with a finely honed soloing gift and an engaging stage manner.

Chris (Parker)