Ralph Peterson, Jr. - Ornettology (Blue Note, 1990)

 

Ralph Peterson, Jr., drums, trumpet

Don Byron, clarinet, bass clarinet
Bryan Carrott, vibes
Melissa Slocum, bass

Recorded August 7-9, 1990

Clinton Studio B, NYC

Engineer: Jim Anderson

Ralph Peterson's Fo'tet was one of the more remarkable units to emerge in the late 1980s during Blue Note Records' resurgence. The frequent comparison of the Fo'tet with Art Blakey's Jazz Messengers is only superficially meaningful. Both Blakey and Peterson were powerful drummers who excelled at "leading from behind" on the drum stool, but the groups they led were vastly different. Blakey hired the best young talent to fill the Messengers line up, and he encouraged their departures to lead their own groups. 

Peterson, by contrast, crafted a unique style for the period, eschewing the quintet/sextet format. He used Bryan Carrott's vibes instead of piano and Don Byron's clarinets as the only horns. This format opened up creative space in the group and allowed Peterson to become a more lyrical drummer. 

"Ornettology" is one of six compositions by Peterson, and the album is fleshed out with a Monk tune ("I Mean You"), one by Wayne Shorter ("Iris"), and one by Ornette Coleman ("Congeniality"). A standard ("No Greater Love") is a 1:48 minute recital by Peterson playing cornet accompanied by bass only.

The title tune sets the stage for the album. Peterson's composition is reminiscent of Ornette Coleman' writing since it offers little harmonic development or chord changes yet allows soaring flights by the soloists. Peterson's own solo is taken on brushes. The other tunes with direct Coleman influences are "Status Flux," which is based on a single chord, and "Congeniality," which was penned by Coleman. 

The Coleman influence is less pronounced in the rest of the program. Carrott's contribution, "The Substance of Things Hoped For," is a conventional tune of great beauty. Byron and Carrott find many angles to pursue in their solos. The extended range and timbre of Byron's bass clarinet add a strong emotional boost. 

Shorter's "Iris" is a change of pace, as Byron summons a lovely tone from the bass clarinet, and Carrott decorates the melody on vibes. The performance gives the impression that playing jazz like this is easy, but bass clarinet and vibes are surely among the most challenging instruments to master. 

Everyone relaxes and plays rousing solos on Monk's "I Mean You." I love Carrott's Monk-like fills behind Byron's clarinet. The vibist is a brilliant performer who should be more highly regarded in the jazz world. 

For my review of the Fo'tet's debut album, go to:

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