Never Never Land

Personnel: Sherrie Maricle (drums).
Liner Note Author: Michael Steinman.
The rhythm section for the Diva Jazz Trio has recorded in the piano-bass-drums trio format only for this recording, and it is an occasion long overdue. Drummer Sherrie Maricle teams with Japanese nationals in pianist Tomoko Ohno and bassist Noriko Ueda, showcasing their formidable talents in a fashion that, in many ways, is buried underneath the horn-laden power of the full-blown jazz orchestra. It turns out that Ohno is not just a fine player, but quite extraordinary, her talent brimming with the vim and vigor that suggest the virtuosity of Oscar Peterson. Ueda's playing is sensitive for sure, but perfectly in tune with Ohno's modal notions when they play rich, resonant basslines together, and she can swing with the best of them. Maricle's work with brushes is emphasized on many of these selections, taking somewhat of a backseat, but in a supportive role where the spotlight can rest firmly on the pianist and bassist. Standards reign supreme, starting with a reimagined version of the Wizard of Oz theme "If I Only Had a Brain," a bop-quick take recalling Peterson or perhaps Erroll Garner, with a fabulous bass solo in the bridge. There's the show tune "Oh, What a Beautiful Morning" done in a pedantic, tick-tock beat, the light bossa nova modification on the title selection, and the contradictory ballroom combo tune "I Could Have Danced All Night/I Won't Dance" in a midtempo, chit-chat framework. A Brazilian flavor dominates Chopin's "Piano Nocturne #6, Opus 09, No. 2," the band introduces John Coltrane's idiomatic interpretation of "My Favorite Things" starting in chamber mode before swinging the waltz, and the Fats Domino R&B hit "I'm Walkin'" is done in a witty groove-biscuit shuffle, all nice change-ups. Most surprising is Cole Porter's "Love for Sale," done in 7/4 time before merging to bop and another shuffle. The DJT plays music that is clever and witty, but not all that complicated, intelligent without being stoic, and pleasing while avoiding clichés and sappiness. It's an attractive combination of musical sights, sounds, and minds merging over commonalities that can be universally enjoyed by all mainstream jazz listeners. ~ Michael G. Nastos