Woody Shaw - Bemsha Swing (Blue Note, 1997)

This post is by Dan

Woody Shaw (tr); Geri Allen (p); Robert Hurst (b); Roy Brooks (d)

Recorded February 26 and 27, 1986

We've reviewed a number of Woody Shaw's albums from the 1980s. Bemsha Swing finds him playing live in a Detroit jazz club with a local rhythm section. Of course, the "locals" are actually international jazz stars who just happen to be from Detroit. Drummer Roy Brooks, who ran Baker's Keyboard Lounge, recorded the session. Blue Note released the two-CD set in 1997. I don't know why it took 10 years to release such a strong date, but it has nothing to do with the quality of the band or their playing.

The album title is appropriate given that the sets include three Monk compositions and a tune by Brooks that honors Monk, namely "Theloniously Speaking."  

The program is typical of a live club performance. Each track stretches out as long as necessary to give all participants the space they need. Seven of the nine tunes are over 11 minutes long. The group sounds relaxed, and the crowd is respectful and appreciative. Without another horn to share the front line, Shaw becomes the main attraction, and he rises to the occasion brilliantly. If you ever wanted to hear Woody Shaw and company live, this is one of the best sessions available.

The 1980s were the coming-out party for the gifted pianist, Geri Allen. Her own albums revealed remarkable conceptions as well as a unique playing style. Her work with Paul Motian and Charlie Haden and numerous other groups are featured in our blog. 

Her playing on Bemsha Swing is not an attempt to play like Monk but rather solo like Geri Allen. Her solo on the title tune shows off her own fluid style. Shaw's 

"In a Capricornian Way" gives her the opportunity in the lead solo to express her individuality. Shaw lays out on Allen's composition "Eric," a lovely elegy for Eric Dolphy that she introduced on her Printmakers LP (Minor Music, 1984). 

Sadly, Allen died of cancer in 2017 at age 60.

Robert Hurst (age 22 at the time of the recording) and Roy Brooks also garner important moments in the spotlight. Shaw's stage comment draws attention to Brooks' brushwork on "Star Eyes," and his work on "Bemsha Swing" is creatively energetic.