Photo by Andrea Canter

Playing piano in the working bands of Michael Brecker and Branford Marsalis would seem to be quite an accomplishment for any jazz artist. And to lead an outstanding trio of Marsalis' rhythm section would be icing on the cake. But Joey Calderazzo is always setting new challenges for himself and his music—like touring here and abroad playing solo piano. Twin Citians were fortunate in 2005 to hear Calderazzo first at the Guthrie Theater with the Branford Marsalis Quartet and then a few months later with his trio (including bassist Eric Reavis and master drummer Jeff Tain Watts) at the Dakota. Now Calderazzo returns to the Dakota alone, riding on a riptide of acclaim following the release of his first solo recording, Haiku (Marsalis Music, 2005). He'll be in town for four glorious sets, at 7 and 9 pm, on February 27-28.

Photo by Josef Astor

Joey Calderazzo started playing piano at age eight, eventually discovering jazz. His early career got a jump start when he joined Michael Brecker in 1986. Since then, Calderazzo has made his mark as both leader and supporting artist, recording in the fast company of Brecker, Jerry Bergonzi, Jack DeJohnette, Dave Holland, John Patitucci, and Jeff "Tain" Watts. Another big break was the opportunity to replace the late Kenny Kirkland in Branford Marsalis' quartet. Now past 40, Calderazzo has released five recordings as leader, including Haiku.

Haiku certainly solidifies Calderazzo's reputation as one of the most inventive and accessible pianists of the modern mainstream. Preparing himself for the solo challenge, he notes that "I bought about fifteen solo piano records, everything from Art Tatum, Keith Jarrett, Chick Corea and Brad Mehldau to Jelly Roll Morton and some classical stuff. But the real key was realizing that I shouldn't follow influences, and that I shouldn't think about missing the bass and drums. I realized that, playing solo, I could really present me, and I think that this is the first album that really sounds like me."

The recording offers six Calderazzo compositions, two standards, and 1 contribution each from the late Kenny Kirkland and current employer Branford Marsalis. Exhibiting the meditative lyricism of Evans, Mehldau, and Jarrett, the multi-textured layering of McCoy Tyner, and the playful romanticism of Fred Hersch, Calderazzo integrates multiple influences without hitting a derivative note across the 9 tracks. He readily meets the challenge of playing without bass or percussion, his left hand assuming both roles as needed, indeed at times serving as the full back-up band while freeing his right hand to improvise on the melody; his touch varying from staccato to legato often within the same phrase. He gives his "Bri's Dance," which bookends the set, a Monkish rhythm, orchestral layering of the two hands, and whiffs of blues, a combination that seems emblematic of Calderazzo's compositions. The original title track unfolds with a lyrical theme and meditative melody, a single line in the right hand with the left providing some dark undertones in a soft counter-line. As light shift of rhythm midway gives the piece a bit more propulsion, as does the repeating form of simple lines yielding to more dense textures. Does this follow the form of a Haiku? I suspect so.

Photo by Andrea Canter

"Chopin" (another original) is classically romantic as its namesake, while Calderazzo's "Legend of Dan" more distinctly recalls Keith Jarrett with a bluesy stride rumination, yet takes off more playfully a la Fred Hersch. Covering Cole Porter's "Just One of Those Things" with a wonderful quirk of time and space, Calderazzo engages in a run-away post bop stride. It always swings but the tug comes at different points in the meter as he shifts his thrust throughout. In the end, it is more Monk than Porter, more acrobat than romantic. On the only other cover, "My One and Only Love," Calderazzo takes liberties with melody from the outset but retains the romantic yearning, his left hand providing orchestral accompaniment. The jaunty "Dancin' for Singles" does seem geared for dancing (or maybe bar-hopping?) and includes some show-stopping flourishes, with plenty of rich technique as well as imagination.

The two tracks paying homage to mentors Kirkland and Marsalis are also among the most beautiful and legato of the recording. Kirkland's balladic "Dienda" is a cerebral contemplation; Calderazzo's left-hand harmonics add a melancholy dissonance. Branford Marsalis' "A Thousand Autumns" offers an angular yet haunting theme that the pianist elegantly weaves and caresses.

Noted Don Williamson (Jazz Review.com), "Assuming that solo piano recordings bring out the personality of the musician as he or she takes advantage of the opportunity to stretch out and explore and experiment, Haiku shows Calderazzo to be a pianist of technical precision, motivic invention, never-ending fascination with the instrument, and artistic dedication."

Joey Calderazzo performs solo piano, two sets per night, February 27-28 at the Dakota in downtown Minneapolis, www.dakotacooks.com

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