Leon Lee Dorsey: Cantaloupe Island
Jazz Avenue 1

Issued on his Jazz Avenue 1 label, bassist Leon Lee Dorsey continues his partnership with renowned drummer Mike Clark on Cantaloupe Island. It's the sixth collaboration between the two since 2019 and a great addition to an inspired series custom-designed to bring fresh results every time. While this release features guitar great Russell Malone on an oft-funky and soulful set, earlier ones paired the rhythm team with guitarist Greg Skaff (on Monktime) and pianists on the four that followed, Michael Wolff (Plays Sgt. Pepper), Harold Mabern (Thank You Mr. Mabern), Manuel Valera (Freedom Jazz Dance), and Mike LeDonne (Blues on Top).

The genius of the concept is that a through-line is established from one chapter to the next through the involvement of Dorsey and Clark, but featuring a different guest ensures each set will differentiate itself from the others. On Cantaloupe Island, the three tackle pieces by Horace Silver, Wes Montgomery, Kenny Burrell, and, of course, Herbie Hancock; adding to the release's appeal, Prince's “Thieves in the Temple” receives a smart run-through. Characterizing Malone as “soulful and swinging and a brilliant improviser [who] embodies the tradition and history of two of the greatest guitarists of all time, Wes Montgomery and George Benson,” Dorsey deftly articulates what the guitarist, a longstanding musical partner of Ron Carter's, brings to the project. As the primary lead voice, much falls on Malone's shoulders, but he enlivens the performances with range and melodic invention.

Recorded over two days in June 2022, the feel is live, loose, and responsive, the album a rewarding document of dialed-in vets enjoying each other's company as they work through classics. No tune receives a funkier treatment than Hancock's “Cantaloupe Island,” which sees the keyboardist's one-time drummer elevating the performance with hi-hat flourishes that'll have fellow drummers nodding appreciatively. If the groove's not quite as iconic as the one on “Palm Grease,” it's undeniably ear-catching, especially when Dorsey's nimble backbone and Malone's blues-funk riffing are added. Even at this early stage of the release, it's clear the three are doing something special.

As engaging is the swinging treatment of Silver's waltz “Barbara,” which couples Clark's frothy ride cymbal playing to his partner's inventive attack and Malone's rippling arpeggios. The love affair with Silver continues on an earthy take of “Sister Sadie,” the trio here in deep shuffle mode and an inspired Malone strutting his chops when buoyed by the breezy swagger of his colleagues. Shifting into funk, the trio refashions Montgomery's Latin-tinged “Bumpin' on Sunset” into a muscular soul-jazz dynamo before slowing the pace for a sensitive ballad rendering of Ray Noble's “The Very Thought of You,” Clark wielding brushes, Dorsey locking in tastefully, and Malone waxing reflectively. Were he still with us, His Purple Highness would no doubt approve of their funky version of “Thieves in the Temple,” the Graffiti Bridge number also, interestingly enough, covered by Hancock on 1996's The New Standard. Hear Malone stoke the performance with syncopated riffing and wicked bent-note figures. Moving into the album's final third, the performances remain strong for a lustrous waltz-time treatment of Bob Haymes' “That's All,” a lyrical, dreamy take on Burrell's “Listen to the Dawn,” and a loping blues version of Montgomery's “The Thumb.”

April 2023