Off the Cuff

A unique sense of harmony, movement and drama has characterized the music of pianist Rick Germanson since his first recording, Heights (Fresh Sounds/New Talent, 2003). Noted Bill Donaldson (Cadence), “Without ostentation and with clearly conceived logic… Germanson makes clear to his listeners the narratives of his music. Indeed, one of Germanson's trademarks seems to be his transitioning between tempos to add interest to his arrangements.” Named “Best New Talent New York” for 2004 by All About Jazz New York, the Milwaukee native and winner of the 1996 Grand Prize in the American Pianist Association Jazz Piano Competition followed in 2005 with You Tell Me, again on Fresh Sound/New Talent. This set of mostly original compositions further highlighted the richly textured ideas of an ever-evolving pianist. Germanson’s more recent itinerary has included extended tours with Pat Metheny and Louis Hayes’ Cannonball Adderley Legacy Band, and finally he found time to record with Hayes and fellow Milwaukeean, bassist Gerald Cannon. Off the Cuff (2009, Owl Studios) is his strongest effort yet.

Rick Germanson©Andrea Canter

Three of the covers anchor the midsection of the CD. Recording “Up Jumped Spring” shortly after composer Freddie Hubbard’s death, this track sums the strengths that Germanson brings to published repertoire – a delicate yet assertive touch, atypical yet perfectly logical voicings, and personal constructions in his improvisations. Rick’s support is exquisite, from Hayes’ caressing brushstrokes to Cannon’s deep-throated, elegant counterpoint. Harold Arlen/Johnny Mercer’s “This Time the Dream’s On Me” is performed with boppish dexterity and velocity from the opening repeated phrase and slight hesitations. Hayes’ percussion drives it forward and beyond predictability, and the earlier vamp returns with a vengeance to close the track. One of his less familiar works, Burt Bacharach’s “Wives and Lovers” is given a dark and soulful introduction that brings it new life. Rick’s delicate cascades tumble around his swinging basslines, while his rhythmic shifts add movement; Gerald offers a “take-no-prisoners” solo. 

“The Way of Water” is the result of a spontaneous improvisation during a day of solo recording, Rick’s lacy waterfalls of arpeggios and intriguing harmonies make this a spacious, luscious serendipity. The final cover, “Autumn in New York,” was part of Rick’s recent set list in St. Paul (at the Artists Quarter), at that time performed as a soaring solo. No less compelling as a trio outing, this version swings with delicate percussion and basslines. Cannon’s contributions are substantial and particularly effective in a solo passage that weaves solid lines with near mystical reverence for melodic phrases. 

“Brick” is based loosely on the changes for “You and the Night and the Music,” a playground for Louis Hayes who takes an extended drum solo. The trio closes the set with “Any Thoughts,” inspired by Rick’s tenure with Pat Martino―hard swinging, joyful and, appropriately, a triumphant finish. 

Read more about Rick Germanson at www.rickgermanson.com 

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