Monk, Blue Note, and vibrations of legacy

The late, great Thelonious Monk once said, “Jazz is my adventure.” After all these years, I have to agree — my jazz journey, like Monk’s, has truly been an adventure of discovery, joy, and reflection.

Lately, I continue to be inspired by new talent and thrilled to hear fresh releases from seasoned jazz veterans. Whether it’s celebrating a birthday, honoring an influence, or welcoming artists to the Twin Cities, there’s always something exciting to share.

One new artist who recently caught my attention is pianist, composer, and bandleader Paul Cornish. The 28-year-old Los Angeles-based musician is signed to Blue Note Records and will release his debut album, “You’re Exaggerating,” this August.

The album features nine original compositions and includes notable collaborators: bassist Josh Crumbly and drummer Jonathan Pinson. Of particular note is the track “Queen Geri,” a heartfelt tribute to one of Cornish’s influences, the late pianist and composer Geri Allen.

Cornish is part of a long lineage of talent on the Blue Note roster — a lineage that includes the brilliant Sonny Clark, born July 21, 1931. A quintessential hard bop pianist, Clark is perhaps best known for his 1958 Blue Note release “Sonny’s Crib.”

But for me, his playing on Lee Morgan’s “Candy” — especially the track “All the Way” — is absolutely unforgettable. Clark’s lyrical touch and rhythmic finesse on that piece never fail to move me. Tragically, he died far too young at the age of 31, but his legacy lives on. Influenced by both Monk and Bud Powell, Clark’s sound continues to echo in the work of young artists like Cornish today.

I don’t think it’s an exaggeration to say that Paul Cornish is helping carry the Blue Note legacy forward with staying power and creativity. I wish him well as he embarks on his own adventure.

Another new release that deserves your attention is “Out Late,” the May 16 release from pianist Eric Scott Reed on Smoke Sessions Records. It’s an album worth celebrating, not only for its musicianship, but for the powerful personal statement Reed makes through the music.

“Out Late” features a stellar quintet: trumpeter Nicholas Payton, tenor saxophonist Eric Alexander, bassist Peter Washington, and drummer Joe Farnsworth. These respected jazz veterans contribute both fire and soul to the session.

The seven-track album includes:

• Glow
• All’umfr’s
• Shadoboxing
• They
• Out Late
• The Weirdos
• Delightful Daddy

“Every city has its own late-night vibration,” says Reed. “No shade to Paris or Vegas or Philly or Los Angeles, but being in New York City is not like being anywhere else in the world. “Out Late” references the nightlife — the energy, the activity, the pulse.”

He adds, “It’s also about finding myself much later in life. It’s about finally being able to embrace myself — my whole totality, my whole personage, who I am, who I love, why I do what I do, and how it all intertwines.”

Each track on “Out Late” was recorded in one take, in one room, the old-school way: no headphones, no overdubs — just raw, real chemistry. The result is jazz at its most honest and intimate.

And if you’re looking for live music close to home, mark your calendars for these upcoming shows at The Dakota in Minneapolis:

• Jane Monheit performs on August 16 at 7 p.m. The acclaimed vocalist is sure to treat audiences to selections from the Great American Songbook and her extensive solo discography.
  
• The always-energetic Rebirth Brass Band brings New Orleans heat back to the Dakota on August 21 at 7 p.m.

For tickets and more details, visit www.dakotacooks.com.

Until next time, keep listening, keep learning, and enjoy the journey.

Robin James welcomes reader responses at jamesonjazz@spokesman-recorder.com.