By Shannon J. Effinger | Published August 2017
Bassist Gerald Cannon makes his long-awaited return with Combinations, his second effort as leader. He has hardly been elusive or idle in the 14 years since his eponymous debut in 2003. With a career spanning well over 30 years, Cannon has held a steady bass for the likes of Elvin Jones, Roy Hargrove and McCoy Tyner, among others.
The bassist has also enjoyed a career as a celebrated visual artist and, until recently, has kept both pursuits entirely separate from one another. Armed with 10 of his closest collaborators on Combinations, Cannon shows that he’s not afraid to color outside of the lines, exploring seemingly infinite tonal textures.
“Every Man Is A King” immediately grabs your attention. Penned by trombonist Slide Hampton, the audacious title is matched by equally bold choices throughout—from Cannon’s punctuated bass solo to the declarative phrasing of Jeremy Pelt and Gary Bartz. The mood shifts with the original “A Thought.” Imbued by Cannon’s years in Hargrove’s group, it harks back to an era in jazz when less was more.
Combinations: Every Man Is A King; A Thought; Prelude To A Kiss; Columbus Circle Stop; Amanda’s Bossa; One For Amos; Garys Tune; How Great Thou Art; How My Heart Sings; Combinations; Darn That Dream. (66:27)
Personnel: Gerald Cannon, bass; Gary Bartz (1, 7, 10), Sherman Irby (2, 4, 5, 6), Steve Slagle (3), alto saxo- phone; Jeremy Pelt (1, 2, 4, 5), Duane Eubanks (10), trumpet; Rick Germanson (1, 3, 4, 6, 7, 9), Kenny Barron (2, 5, 10), piano; Russell Malone, guitar (3, 7, 8); Willie Jones III (1–5, 6, 9, 10), Will Calhoun (7), drums.
