There’s a freshness here like spring after an extremely severe winter. Keith Javors’ performance, as well as his compositions, culminates in a harmonic format free from predictable clichés, free from the over-powering influence of 18th century harmonic gravitational pulls, free from sameness. In some pieces the degree of simplicity is so beautifully full of child-like purity, honesty and sadness that after an in-depth listening, one is tempted to ask him, “Who hurt you so deeply?” Personally, I’m impressed that the primary focus is not solely on energy in the form of volume and climatic improvisation, but on making music which encompasses nuances from a whisper to a virtual out cry of unfettered emotions. Keith has discovered the essence of creativity.
The young front-line players are undoubtedly tomorrow’s stars. Juan Carlos Rollan’s dexterity and interpretive skills are absolutely awesome, Dane Bays is reality in the form of raw soul coming to you straight from the heart and Ray Callender represents the cutting edge of trumpet playing. The rhythm section swings without rigidity leaving the soloist room to soar freely. Ricky Ravelo does a marvelous job of locking in with Keith and John Davis, controlling the space and time in a way that serves the entire group. John is simply a dream of a drummer, virtually indefatigable and always inventive.
To recapitulate, the man that put it all together, Keith Javors, is a singular individual who has made the entire world his resource area and now speaks with his own individual voice. Keith is a creative force with an urgent message that cannot be denied. “Mo’ City Jungle” is a wonderful CD, enjoy!
Bunky Green
Jacksonville, FL
Nowhere in the universe has the old adage “those who can do, those who can’t teach” been more resoundingly refuted than in the world of jazz. For more than a generation great musicians like Kenny Barron, Jackie McLean, and Reggie Workman have proven the falsity of that truism by taking their places in the hallowed halls of academia while remaining key players in the development of the music. While the true merit of this relatively new association between jazz and the academy remains debatable, the number of excellent musicians that have come out of the system is undeniable.
Keith Javors is both a part of this system and a product of it -- a graduate of one the country’s oldest and most prestigious jazz programs and a highly acclaimed educator. All the while, he has remained a constantly developing player who on this, his third record as a leader of a small group, demonstrates his considerable talents as a potent pianist, a creative composer and an inspired improviser.
Mo’ City Jungle effectively exhibits Javors’ distinctive writing style in a variety of moods which display his diverse taste. He elucidates saying, “I like to try and write songs that are highly accessible from an audience’s perspective, yet challenging from the musician's standpoint.” The title track is a double minor blues reminiscent of Kenny Garrett's "Tacit Dance" from the Black Hope album. The composer notes, “It is open ended in working as either or both an Afro-Cuban and straight ahead feel, and is stylistically typical of the fire and soul in Detroit.” The next two tunes are familial dedications by the leader. “My nephew Zach’s first birthday present was a tune I recorded previously on FHTTS,” he notes. “Then came another nephew and niece, so I had to write songs for them, too. Here’s installment two and three of the “suite”, Sierra Nicole’s Bossa and Ian Keith. Hopefully the listener hears a simple beauty and purity in all three of the tunes.” Javors says, “In a way, Symbiotic Interlude is the oldest composition on the record. Dane and I began playing together in the duo format from the beginning in 96’ (Mantra) and the trading you hear on the end of the cut is a vibe we’ve been trying to refine for years. In Essence is a mellow Messengerish theme reminiscent of certain Wayne Shorter-Bobby Watson compositions. Keith wrote Afternoon in Roatan after repeated trips to Honduras He explains, “I continue to be amazed by people who have so much less than what we as Americans do, and yet retain suck a positive, giving, and unassuming quality. I hope there’s a certain soulfulness to the tune that reflects that feeling.” The music’s poignant beauty does just that. Conclusion of the Matter is a sextet arrangement by Javors based on a defining verse in Ecclesiastes. Its close, dense horn voicings, extended form, and rhythm section drive and interaction give it an anthemic quality that hearkens to Walter Davis Jr.’s work with Art Blakey. Keith describes The High Road as “an extended and reflective piano piece which culminates in an unexpected all-out soul groove with Dane and the rhythm section and remarks, “This is the feeling I get in overcoming obstacles on the way to self-betterment.”
Keith Javors is clearly destined to achieve self-betterment. His exemplary work as a musician and educator is defined by a philosophy with humanity at its center. Unlike those teachers the old adage claims “can’t,” he is one who certainly can and does, traveling a high road that steers clear of the Ivory Towers and chooses instead more interesting places. Like Mo’ City Jungle.
Russ Musto
New York City, NY |