Steve Grossman - Way Out East, Vols. 1 and 2 (Red, 1984)

 This post is by Dan

Steve Grossman (ts); Juni Booth (b); Joe Chambers (d)

Recorded July 23 and 24, 1984

Steve Grossman entered the jazz world in the 1970s. As a relative youngster, he played in bands led by Miles Davis and Elvin Jones. He recorded a number of fusion albums before diving into one of the most challenging of jazz settings - the tenor/bass/drums trio. As Scott points out in his post for Bennie Wallace's Big Jim's Tango, the absence of piano creates more space and demands more from each of the three players. Sonny Rollins recorded legendary trio sets at the Village Vanguard in 1957 at an even younger age than Grossman was in 1984 (Grossman was 33 and Rollins was 27). Grossman's title also bows to another Rollins trio album - Way Out West (Contemporary, 1957).

The two volumes of Way Out East were recorded in a Milano studio on consecutive days. Judging from the Umbria Jazz 84 tee shirt worn by Joe Chambers in the back cover photo of Volume 1, the players were in Italy for the festival. European producers often took such opportunities to lure American artists into recording studios for albums like these. 

Of the 14 tracks laid down, only one ("Taurus People") was composed by Grossman. The remainder are standard jazz fare, which directs the focus almost entirely on the improvisor and the interplay of the group. By selecting familiar tunes, Grossman invites comparisons not only to Rollins but also to dozens of other tenor players who have recorded the same material.

Despite the weight of those comparisons, Grossman pulls off an outstanding set. He never plays filler or meanders aimlessly. The supporting players are equally responsible for the creative energy of the recordings. Joe Chambers is one of the most interesting drummers in jazz and perfectly suited for the tenor trio format. Juni Booth on bass plays more than just a background role and his contributions are essential. This is a no-nonsense trio with a distinct sound.

Both vinyl records boast excellent sound, faithful to the properties of each instrument. There is no audible effort to "enhance" anything; just music as it was actually played. The other Red Records I own have that same quality. I haven't heard the CD reissue with its peculiar tailfin and graffiti cover art. 

In any format, this is music worth investigating. As with most jazz recordings, repeated listening rewards with deeper insights into the creative process.