Itai Doshin

Drummer and composer Mike Clark reteams with longtime collaborator and master trumpeter Eddie Henderson in an all-star quintet that includes pianist Patrice Rushen, saxophonist Craig Handy, and bassist Henry Franklin on Itai Doshin. The title is a Nicheren Shoshu Buddhist term for "many in body, one mind." Clark has been a practitioner for decades. Despite the abundant jazz-funk bona fides among the personnel here, this is a thoroughly modern post-bop date. The set contains nine tracks, three were composed by Clark, and theres one each by Henderson and Franklin along with a handful of covers including Thelonius Monks "Epistrophy." Clarks unofficial theme song; its two versions bookend the album. Monks "Epistrophy" opens speedily as the horns bite on the eight-note vamp, Clark swings like mad as he and the propulsive Franklin set the foundation for Rushens savvy, knotty, joyful solo. Its the elegant interplay between pianist and bassist that elevate the transformed standard "Cherokee" by Ray Noble from its normally uptempo presentation into a tender ballad. Reflecting grace at its core, Rushen is lyrical as Franklin slips in poignant notes and lines. His solo reveals the depth of his empathy for the arrangement. Hendersons solo is a croon as Clark delivers restrained breaks and accents. Its on the trumpeters "Mganga" that the band opens wide as they effortlessly move from post-bop to funky modal and back again with a fierce syncopated head laid down by Henderson and Handy. Rushen is a revelation; her physical chord voicings swing as they interact with Clark and Franklin before delivering a breathtakingly creative solo. Handys solo is strong, punchy; it almost breathes fire. "Inside Zone" by Howe and Erik Jekabson offers a moodily swinging head before opening onto wonderfully spacious post-bop that includes a glorious solo by Henderson as Rushen stretches her harmonic palette to meet Clark and Franklins rhythmic pulse with elusive fills and accents. She introduces Bob Marleys "I Shot the Sheriff" on a Fender Rhodes piano. As the horns deliver the downward progression on the intro, Rushen begins adding space, texture, and dimension in her wonderfully economical solo and composing. Handy and Henderson deliver notable solos as Clark and Franklin offer a syncopated reggae rhythm in cut time. "Yakinis Dance" was composed by the leader and is a gorgeous exercise in bluesy post-bop. Rushen extrapolates on her blues groove by adding levels of creative sophistication in the turnarounds while Clark burnishes them with hip breaks and rhythmic imagination. Franklins "Midori" is a midtempo ballad that offers the lilting touch of bossa nova. His bass is upmixed as Clark rides his impressive use of whispering cymbals and restrained snare. Rushen offers the vampy yet classy progression before she and Henderson deliver sensitive, illuminating solos before the fingerpopping reprise of "Epistrophy" closes it. Itai Doshin is a cannily balanced session. While most of its players have known one another for decades, the addition of Franklin and Rushen adds weight in reaffirming the classic jazz vocabulary by adding modern soul and post-bop groove. ~ Thom Jurek