Reggie Workman - Cerebral Caverns (Postcards, 1995)

Reggie Workman, bass
Sam Rivers, tenor & soprano sax, flute
Julian Priester, trombone
Geri Allen, piano
Elizabeth Panzer, harp
Gerry Hemingway, drums
Al Foster, drums
Tapan Modak, tabla

Recorded April 27 & 28, 1995

Sound on Sound

Engineer: Joe Barbaria

The follow up to Reggie Workman's Summit Conference is a superb extension of the concepts introduced on his first Postcards outing. Sam Rivers and Julian Priester return, and Geri Allen replaces Andrew Hill at the piano. Drummers Gerry Hemingway and Al Foster replace Pheeroan akLaff, although they only play together on one track. Elizabeth Panzer on harp and Tapan Modak on tabla complete the line up, adding an exotic Eastern vibe to the session. 

Cerebral Caverns is a deeply rewarding album, full of surprises that begin on the title track with its earthy blend of bass, drum pads, percussion and harp. The mystery deepens during the number's 7:14 minutes. It's a captivating opener unlike any other jazz album I know.

"What's in Your Hand" changes the pace and format to a trio with Workman, Allen, and Hemingway. But this is no standard piano trio. Allen moves from slow dissonance to increasing vigor as she skates over the bass and percussion, resolving tensions with a gradual fade. 

"Fast Forward" follows with forward momentum right from the start. Rivers' blistering tenor solo dominates as Workman and Foster fan the fire. After Foster's solo, Priester enters with a virtuosic exploration of the trombone at high speed. "Fast Forward" is not free or chaotic. Its structure is clear and supportive of the intense soloing.

The most fascinating tune is "Ballad Explorations," which begins with a polite discussion between tabla and trombone. The duet soon becomes a quartet as Hemingway and Workman add new colors while the tabla gains prominence. It's hard to tell where the piece is headed; it sounds more like pieces of ballads that never form a distinct melody. The discussion continues as Rivers gets in the final word. 

"Eastern Persuasion" alters the sonic palette with Panzer's harp sounding like both a guzheng and a guitar. Hemingway exploits his kit to make exotic percussive noises while Workman anchors the proceedings.

Innovations like these rarely form the core of a jazz album, which makes Cerebral Caverns all the more impressive. The compositions and deployment of instrumentalists reflect Workman's "restless intelligence," according to Francis Davis's booklet notes. 

To read my post of Reggie Workman's Synthesis, go to:

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