Customer Reviews

Hand in Hand

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This is a wonderful album by Mulgrew Miller. The band is fantastic - Joe Henderson, Kenny Garret, Eddie Henderson for the horn section - Christian McBride and Lewis Nash for the rythmn. The songs are all originals - no standards. That may be a disadvantage to some, but the tunes are memorable. This is straight ahead post-pop to categorize the music. I bought this CD when it first came out, and it still one my favorites. Who knows who has the masters for this album - it came out original on RCA Novus. If you can find this CD, get it. There are weak no cuts on this session.

This is one of my favorite Mulgrew Miller recording. This recording in it's approach, to my ears, is reminiscent of Oliver Nelson's "Blues & The Abstract Truth" in it's sense of sing, soulfulness and the way it features a top flight ensemble to full effect.

This is a somewhat different Mulgrew than the pianistic dynamo that made such a strong impact and his present felt on so many recordings. That's neither bad nor good, just different.

I found myself listening to this one over and over again. "Grew's Tune" has the same effect that "Stolen Moments" did. It says so much on so many levels.

Sadly this outstanding recording disappeared from the CD bins of all the major outlets and I'm in New York!!!.

Mulgrew is showing himself to be a fine composer and that aspect of him, should get much more recognition.

The art of the ensemble playing is well exemplified in this recording. The soloing is top flight, the arrangements are filled with hues and colors. Ellington, Horace Silver and Gil Evans would smile listening to these arrangements.

Here's a great assemblage of overflowing talent from December 1992 on RCA Novus that appeals on a multitude of levels. While it might not be the most obvious place to begin a review, consider the near complete absence on this album of the dreaded fade-out-ending phenomenon, which goes to underscore the fact that these are well thought out comps through and through, and they're all Miller's with one exception. There's plenty of other evidence of good writing chops too, such as the compelling use of inner-voice motion on the full ensemble pieces, like tracks #1 and #5. Very reminiscent of Oliver Nelson's capabilities with a similar-sized group. Another reviewer below cites Nelson's The Blues and the Abstract Truth, and I second that motion. (Also recall Herbie Hancock's writing on Speak Like a Child from 1968 or 1969's The Prisoner). Mulgrew's playing ain't too bad either. He's especially flashy on his "Return Trip" (#7). After seeing him for the first time back in 1987 at this little place (called ??) across the square from Ryle's in Cambridge, you just knew that he was going to be a monster. That promise pays off all over "Hand In Hand".

Oh, and then right out of the chute, first solo on the first tune, you've got this guy named Joe Henderson. Take it Joe!! This was such a prime era for him (early 90's), the period that many call his "re-discovery" phase. Can't say that I knew all there was to know about Joe prior to 1990, but I can indeed say now that *any* session featuring him from this period is worth seeking out. (Please see my Henderson Listmania discog/list from 1985 on for more.) Then there's Dr. Eddie Henderson (that right, Dr.) who blows so fine on trumpet and flugelhorn on six of the 9 tracks. He's especially knowledgable with a mute in, as on #8, the one non-Mulgrew tune, and also the one place where Christian McBride lines up for a bass spot. Can you imagine that? McBride on an entire album and just one solo? That must mean a whole bunch of good voices with things to say. Dr. Henderson is a trained psychiatrist and has practiced as such. Can't say if he's currently accepting new patients, but I'd get wacky in a hurry if I found out that he was.

Kenny Garrett's on board, and I'm lovin' it. He plays the perfect foil for whomever he follows or precedes by bringing it outside a bit more than the others do, with the possible exception of my favorite vibist, Steve Nelson, who's bringing lots of attention to himself in Dave Holland-led outfits these days, but is seemingly reluctant to be a leader on his own. Actually they *all* take it "out there" more or less as a matter of routine, but Kenny just knows how to do it with a certain degree of "tartness" in his sound. He brings to mind the late Jackie McLean in this way (just here, not necessarily elsewhere), though perhaps with an extra helping of soul and grit. I'll bet not many people outside the jazz world could put their finger on who Lewis Nash is, but I'm going to say that he can pound it out on the same stage as Art Blakey, Jack DeJohnette, and Tony Williams, maybe even as hard as fearless thump-master Billy Hart. And he does so throughout "HIH", especially so on track #4, where Eddie and Joe lay out. Nash competes for my vote as drummer of the year in DownBeat's Readers Poll every single time. He propels the title track here as well. It's a snappy modified blues theme and it sounds like a page right out of the Tony Wms - Ron - Herbie playbook.

It's tough overall to take in "Hand In Hand" without conjuring up images of some classic Blue Note encounters from the mid-60's, like Bobby Hutcherson's Stick-Up!, or Donald Byrd's Blackjack, maybe Lou Donaldson's Lush Life or McCoy Tyner's Tender Moments though they get into even larger groups with no vibist present. Here, with "Hand In Hand", Mulgrew Miller has clearly become his own jazz man, and the stuff he serves up within is some tasty. There's also a nice full sound-field, courtesy of engineer James Nichols. There are at the very least a few exceptional post-modern jazz releases from the 90's that will stand the test of time. This is one of them.

This band is crisp.Mulgrew contributes some great originals,and the arrangments are top shelf.Overall the performance has great balance throughout.And what a rhythm section.There have been many.Herbie Hancock,Ron Carter and Tony Williams,Red Garland,Paul Chambers and Philly
'Joe'Jones,to name a few,and this one ranks amoung them.The lead tune is an excellent example of how to swing hard at a very slow tempo.This is not easy to pull off at this calibre,but with Lewis Nash on drums,it seems that anything is possible.From the buttery and flawless sound Eddie Henderson exibits,and some suberb solos contributed by Joe Henderson,Kenny Garrett,Steve Nelson and Mulgrew and company through out the set, it's well worth a listen.Inspiring stuff!Your read folks.Enjoy.