#same jones

Souls of similar mind were essential for the venture and McPherson didn’t shirk in his selection Duke Jordan, erstwhile favorite of Charlie Parker and several years away from his expatriation to Denmark, holds down the piano chair. Bassist Sam Jones and drummer Leroy Williams, both Xanadu regulars, fill out the rhythm section. McPherson leaps into an opening arrangement of Irving Berlin’s “They Say It’s Wonderful”, his tone airy, but focused. Jones’ amplification gives the bottom end a rubberized elasticity endemic to the custom of the era and while Williams is a bit recessed in the mix, the click of his high hat comes through as a counter of time. “But Beautiful” begins with a brief, but lush statement from Jordan on which McPherson launches another supple sortie through the theme. Jones and Williams are once again sources of spare, but steadfast support.

“Lover” and “Body and Soul” are both archetypal ballads. McPherson brings an abiding sensitivity of expression to each, but recasts the former as an up-tempo vessel for swing borne on the brisk pacing of Williams’ sticks and Jordan’s jaunty fills. After a fleet solo by the pianist the drummer engages in a tumbling press roll-driven break that primes the leader for a swaggering, soulful exit. A venerable staple for tenor saxophonists since its 1930 musical debut, the latter tune proves just as felicitous for interpretation by alto. McPherson’s ingress into the melody exudes ample and tender pathos. Framed by lush chords from Jordan and steady throb by Jones, the winding horn line blooms into his most poignant improvisation of the session. Rather than compete directly with the emotional import expressed prior, the pianist folds inward for a delicate discourse built from the fundamentals of the theme.

“This Can’t Be Love” flips the script by handing Jordan the lead after a canny opening sans his presence. Originally written by tunesmiths Rogers and Hart, the arrangement here would have likely turned their heads as Jordan’s falls away to a bop-tinged McPherson creation nearly on par with his sortie on “Body and Soul” in its merging of forward momentum and colorful tonal smears. Jones and Williams also get some action in a quick series of adroit exchanges near the end. The band closes the date with a lissome if comparatively straightforward reading of “It Had to Be You” bolstered by rhythm section breaks and a nine-minute excursion through “All God’s Children Got Rhythm” sans saxophonist is appended as bonus track. Still a standout in McPherson’s ample discography, Beautiful! makes good on the meaning behind the title. Sometimes the successful search for beauty is as simple as celebrating what one already knows.