JOHN ESPOSITO SEXTET with ERIC PERSON / CHRIS PASIN / PHILL ALLEN / IRA COLEMAN / PETER O’BRIEN - Laura (Sunjump CD0020; USA) Featuring John Esposito on piano & compositions, Chris Pasin on trumpet & cornet, Eric Person on flute, soprano, alto & tenor saxes, Phil Allen on valve trombone, Ira Coleman on bass and Peter O’Brien on drums. I recall first hearing John Esposito playing on a record by Franklin Kiermyer called “Solomon’s Daughter’ from 1994 with Pharoah Sanders. That record is/was amazing and I was particularly blown away by John Esposito’s incredible McCoy Tyner-like piano. Ever since then, I’ve kept my eye & ear on whatever I’ve been able to find from Mr. Esposito. Mr. Esposito started his own Sunjump label around 1988, releasing some 20 discs by himself, Sangeeta Michael Berardi and Second Sight (with Dave Douglas). During the pandemic, Mr. Esposito, who used to play 200 times live a year, was cut back to playing no gigs for that year. What he did was rehearse weekly with his ongoing trio and also with his own sextet. This disc comprises the music which Esposito’s sextet rehearsed during that period. I recognize a few of the names here like Eric Person (who I know from records with Chico Hamilton, Dave Holland & Ronald Shannon Jackson. I don’t recognize the names Chris Pasin or Phil Allen but I do know the rhythm team, Ira Coleman & Peter O’Brien from previous work with Mr. Esposito, as well as with Tony Williams and Barney Wilen.

   This is most effervescent sextet, swinging hard and sounding like a Blue Note band from the sixties of seventies. “Clarity” opens with an uplifting, swinging groove with inspired solos from the trumpet, tenor sax, trombone and piano. The relaxed pace and lovely melodies of the some of these songs is/are exquisite. “First Sight” features a repeating riff which is near majestic in its sound and which features drummer Peter O’Brien revving up underneath the calm exterior and adding some sparks. One of the highlights here, which I didn’t notice at first, is the way Mr. Esposito writes for thoughtful harmonies for the horns. At times, the trumpet, sax or flute and trombone will all solo together creating quirky circles. On “La Leque” lush harmonies are both haunting and lovely at the same time, something which is not so easy to pull off. Since this music is not very avant or out, what does standout is the strong playing and adventurous yet somehow subtle arrangements which seem hidden at times yet come through if you listen closely and give several listens. - Bruce Lee Gallanter, DMG

 

 

 

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