No Time Like The Present

Bassist Michael Blanco understands the meaning of originality - tastefully rolling out your creative vision while keeping the customer satisfied. On No Time Like the Present (Nineteen-Eight), all nine tracks are by Blanco - a high-risk move, since originals by definition are foreign to the ear and often drag on. But Blanco has a skilled writing touch - he twice has received the ASCAP Foundation Young Jazz Composer Award. He also has assembled a terrific ensemble for this CD. Saxophonist John Ellis and guitarist Jonathan Kreisberg are the front line. Joining Blanco in the rhythm section are David Cook on piano and Mark Ferber on drums. Blanco's playing is strong, and his solos are solid and never overstay their welcome. And the sound of Ellis and Kreisberg together is gorgeous. A beautiful album with compositional depth and technical maturity. -- Marc Meyers, JazzWax.com A talented in-demand Broadway/jazz bassist, Michael Blanco's No Time Like the Present announces his second album as leader presenting a collection of refreshing new jazz originals offered by a dynamic quintet that features veteran saxophonist John Ellis and New York guitarist Jonathan Kreisberg among the cast. The two-time recipient of the ASCAP Foundation Young Jazz Composer Award, designs a sparkling session of riveting modern-style jazz not to be missed. Though it's Blanco's compositional skills that carry the date on this outing, the bassist's strong performance throughout is not to be dismissed as his solo performance on 'Postcard (for solo bass)' so aptly demonstrates. Overlooking the intimidating title ('Dutch Kills') of the opening track, the music reveals an elegant light texture marked by glowing solo statements from members of the band. The title piece is fast-paced and up-tempo featuring Ellis and Kreisberg trading salvos in the first burner of the disc. 'You Really Shouldn't' follows in much the same vein this time featuring pianist David Cook and drummer Mark Ferber providing the energy. Propelled by torrid tenor solos and strong guitar riffs, the fire seems to burn brightest on the hard-driving 'RSVP,' one of the bassist's finest compositions. Another outstanding score is the spacious 'Smithlike' featuring a superb bass solo from the leader and highlighting the saxophonist on the soprano. All is not hot and steamy however, as warm-toned solos from both guitarist and bassist bolster the light and beautiful 'Midnight,' one of several mid-tempo, even mellow mood pieces on the album. The enchanting 'Emily's Wedding' is a perfect example of some more tasteful light jazz perfect for a relaxing setting. Perhaps as a tip of the hat to saxophonist Ellis, the closing number, appropriately titled 'Ellis Island' serves as the swan song for the reed man but also includes dynamic solos from the guitarist as well as the leader. Michael Blanco is certainly one of the young guns in the jazz scene today and with No Time Like the Present brings the background bass to the front line of jazz. Comparisons to some of the finest jazz bassist in modern jazz such as Christian McBride, John Patitucci, Gary Peacock and Charlie Haden to name a few, are inevitable. His approach and clever charts can only serve to elevate his music and cement his reputation as an excellent composer and a bassist of note. Track Listing: Dutch Kills; No Time Like The Present; You Really Shouldn't; Midnight; RSVP; Smithlike; Emily's Wedding; Postcard (for solo bass); Ellis Island. Personnel: Michael Blanco: bass; John Ellis: tenor saxophone, soprano saxophone; Jonathan Kreisberg: guitar; David Cook: piano; Mark Ferber: drums. -- Edward Blanco, AllAboutJazz.com Bassist Michael Blanco leads a melodious quintet with John Ellis/ts-ss, Jonathan Kreisberg/g, David Cook/p and Mark Ferber through a collection of impressive and invigorating originals. Lyrical and cheerful melodies like 'Dutch Kills' and the title track feature Ellis with a vibrant tone on his tenor, while his soprano on the strolling 'Smithlike' is strident and penetrating. An intriguing take on the standard 'Emily,' here titled 'Em