"My theory is that in the piano you have the whole history of jazz reflected, a focal point—in melody, harmony, and rhythm." - Dr. Billy Taylor

Photo by Andrea Canter

If there was any question as to the viability of piano jazz in the Twin Cities, December 2004 should squelch any doubts. From the Ahmad Jamal Trio's awe-inspiring sets at the Dakota in early December to David Hazeltine's inventive improvisations at the Artists Quarter, from the always explosive Nachito Herrera and his Cuban All-Stars' monthly nuclear meltdown and Laura Caviani's fabulous holiday salutes with her quintet and Soul Café, the Twin Cities' keyboards are still smoldering.  Yet there is more to come, with much-anticipated appearances by Ethan Iverson and the frenetic Bad Plus (Dakota, December 27-29); Peter Schimke (Artists Quarter, December 29); Herrera (Dakota) and Caviani (Rossi's) in New Year's Eve celebrations; and post bop master Rick Germanson back from New York (Artists Quarter, New Year's Even with Carole Martin and Irv Williams; in a trio January 1).

The week of December 20^th, however, marked what was arguably the most diverse week in a month of endless keyboard pleasures, with Bill Carrothers on stage at the Dakota and Rossi's, Chris Lomheim at the Artists Quarter, and Larry McDonough at the Dakota. These three masters, all rooted in (or uprooted from) the Twin Cities jazz scene, reflect the depth of local piano talent, each approaching his craft from a somewhat different angle and different life experiences, and each producing some of the finest music of the year.

Bill Carrothers:  Splitting his time between touring in Europe and family life in Michigan's Upper Peninsula, Bill Carrothers doesn't return "home" to Minnesota often enough to suit his many admirers. When he does find his way back to his native Twin Cities, you can count on a packed house and the best available rhythm section. Hot off the release of Armistice 1918 (Sketch), currently topping the jazz charts throughout Europe, Carrothers paid a holiday visit to Minneapolis with gigs at the Dakota (Monday night) and Rossi's Blue Star Room (Wednesday night). I can only speak for the Dakota sets, but the fact that this artist continues to fall below the radar screen of American jazz defies explanation.  Maybe the latest recording will prompt change on this side of the Atlantic.

Photo by Andrea Canter

And the rhythm section? Neither Gordy Johnson nor Dave King are known for "supporting" roles. Bassist Johnson, who actually studied flute at the Eastman School of Music, has particular affinity for pianists, as evidenced by his recordings of Trios (Volumes 1, 2, and the soon-to-be-released Volume 3.0). With Carrothers, he had plenty of solo opportunities, from his somber lines on "Stella by Starlight" and shifting tempos on "On Green Dolphin Street," to a melodic interlude on "Easy to Remember," here setting up a beautifully lyrical transition back to the piano, opening space for Carrothers to explore.

Those who have only heard Dave King with the Bad Plus or Happy Apple have heard but a fraction of the range of this amazing and creative percussionist. As demonstrated with Carrothers, King not only has an immense imagination, he has a wide range of sonic exploits, often at far less than the thunderous volume that has been a prime feature (and sometimes criticism) of his work with the Bad Plus. With his trademark menagerie of "instruments," King banged an inverted saucepan, struck his drums with a plastic apple toy, drew a bow across a contraption consisting of strings and steel spikes, and waved a pair of "E.T." dolls which emitted sounds that were definitely extraterrestrial. As the "Little Drummer Boy" turned inside-out, King's hand was at least as effective as the drumstick. Regardless of his weapons, King's arsenal never overpowered the music; rather his support ranged from gently shimmering rides on balladic passages ("Easy to Remember") to frenetic fills of clangs and bass beats ("All or Nothing at All").

This trio is a full partnership where the interplay is telepathic, the impact ranging from beautiful thunder ("All or Nothing at All") to dramatic plot twists ("Easy to Remember," "On Green Dolphin Street"). While on the surface there are incongruities—lyrical piano passages in tandem with oddball percussion gadgetry, it all melds together to produce a unique yet accessible, often swinging result, always challenging the audience to watch as well as listen. And this artistry—arguably on par with the most innovative trios of Moran, Mehldau, and E.S.T.—will be captured on Gordy Johnson's next recording, Trios, Volume 3.5. Let's hope for a reprise of the December gig when this recording is released.

Chris Lomheim: Chris Lomheim is a regular performer at the Artists Quarter, and is often seen anchoring the support for area vocalists. With his standing trio (Gordy Johnson on bass and Phil Hey on drums), one can more clearly appreciate what Jeremy Walker referred to as his "prodigious piano technique and an individual ear for harmony." The trio played two long sets at the AQ that more than substantiated such praise.

Among Twin Cities' pianists, Chris Lomheim is perhaps the most lyrical in his approach, even when running up and down the keyboard at finger-popping velocity. Although he does not typically stray far from the post bop comfort zone, even the most familiar melodies ("East of the Sun," "All the Things You Are," "Smile") bring new adventures, while his original compositions ("Bridge") are stunningly inventive. Among highlights on this Wednesday night was an exquisite rendition of "But Beautiful," the opening solo magnificently reflecting Lomheim's affinity for Bill Evans, adding a bit of syncopation that enhanced the emotional pull of the melody.  Virtuoso bassist Gordy Johnson (barely cooled down from his gig with Bill Carrothers) proved that he, too, is master of a ballad, with long solo lines punctuated by chords that added to the heart-tugging tension. In delightful contrast was the Johnny Griffin tune, "Squatty Roo," filled with fast rising slides and ripples, Lomheim's energetic left hand and descending runs, decelerating into an equally playful bass solo filled with Monkish licks, all supported by Phil Hey's edgy drum groove. "Funkallero" may be as close to Monk as Bill Evans (and Chris Lomheim) get, with dissonant harmonies, funky rhythms, repeating clusters of chords and phrases—a tour de force for Lomheim whose deconstructions yielded melodic improvisations, and an opportunity for Phil Hey to unload his arsenal of sonic weaponry, from dancing rimshots to swirling snare.

It's not easy to selectively report the facets of such a glowing gem of trio jazz. The night was filled with variety in material and approach, from the swinging cascades of notes on "The Girl Next Door" and the dissected melody and chord clusters of "Our Delight" to Lomheim's circumnavigation of "All the Things You Are" and lushly elegant readings of "Blue in Green" and "We Will Meet Again." Only one original tune was offered this evening, but Lomheim's "The Bridge" (title track of his second recording) was a telling taste of his compositional chops, starting off as a Granados-flavored ballad of crystalline breezes and bell-like explorations of the top of the keyboard, contrasting with a lower-register solo from Gordy Johnson.