Joshua Breakstone
's fifth recording for the
Capri
label, and 19th as a leader over 30 years, keeps on the straight-ahead path that has held the fine jazz guitarist in good stead. With exceptional assistance from veteran experts like bassist
Lisle Atkinson
and drummer
Eliot Zigmund
,
Breakstone
is in good company, playing two standards and six originals, all reflective of the good fortune he has enjoyed in the pocket of the modern mainstream. These titles less than subtly suggest that he's languished in obscurity while also being able to do his own thing, with few if any commercial considerations. He's also further refined an approach to the guitar that any fan of his instrument can easily enjoy, especially if you like the single-line string theory approach to making melodies, as established by
Kenny Burrell
.
is an expert extracting tiny notes out of his six-string, as heard on the lithe composition
"Over-Done"
(which should not be read as "Overdone" -- the hyphen perfectly divides the thoughts), molded in the image of
Burrell
's patience and virtue. Distinct themes of older tunes are hinted at here and there: the effortless, soulful self-portrait
"For Me"
uses a phrase from
"One Mint Julep"
;
Atkinson
's
"Come on Baby"
is a parallel to the
Sonny Rollins
evergreen
"Doxy"
"Blues Heretofore"
borrows from
Antonio Carlos Jobim
"Gentle Rain"
; and the bopper
"No One New"
is based on the changes of
"It's You or No One,"
but also sounds a bit like
"Secret Love."
Throughout the program, the trio members prove their seasoning and veteran leadership, resulting in a musicality that is second to none. A cover of the famed
Jimmy Rowles
ballad
"The Peacocks"
is a sad song made more melancholy by these three. A comedic typo calls this a "hunting" song when it should be "haunting." The closer is
"The Kicker,"
a
Joe Henderson
-penned standard done with quick stop-start accents via
Zigmund
's precise drumming -- a great interpretation. Through his substantial career,
has made many such solid but unspectacular recordings with very little fanfare or overt pyrotechnics to pump them up to an image-conscious public. While he always needs a little more press, this crafted and thoughtful music stands up well on its own without the hype or bursting accolades. Perhaps the listener will also pursue investigating his entire, consistently rendered discography, or get to a live performance of this humble and well-heeled -- nay, underappreciated -- jazz guitar master. ~ Michael G. Nastos