Search - Steve Grossman :: Time to Smile

Needs more exposure

Tyler Smith | Denver, CO United States | 02/14/2001

(4 out of 5 stars)

"Grossman made his name as a young man in the early '70s, appearing on a couple of Miles Davis's albums (most notably "A Tribute to Jack Johnson"), contributing to some other fusion efforts of superior quality (particularly "Shapes to Come" with Jan Hammer, Gene Perla and Don Alias), and making excellent contributions to some of Elvin Jones's bands and recordings ("Live at the Lighthouse" particularly, where he was paired off with David Liebman). Later he was less visible, at least from a recording standpoint, but "Time to Smile" (1991) shows his intense, hard-edged sound is still very much intact.This recording is straight-ahead mainstream jazz, and Grossman is joined by musicians with whom he clearly is comfortable playing, including Jones on drums, pianist Willie Pickens, and trumpeter Tom Harrell. No one in the band is interested in flash. It's a session to explore familiar tunes, stretch out and try to say something meaningful instrumentally. All involved succeed in doing that.Grossman plays only tenor on this date, leaving aside his penetrating soprano sound. His sound is no less driving than it was in his days with Miles and Elvin, but his lines are longer, his approach a bit more relaxed. I hear a lot of Dexter Gordon in it, but he's no imitator. And he proves he can take on a ballad with the best of them, as on his rendition of "Till There Was You."Pickens and Harrell are strong as well. Pickens is an underrated pianist who has contributed some great work in Elvin Jones's bands. He is very lyrical and plays long single-note runs that shine. Harrell plays free-flowing lines that are softer and more rounded than Grossman's than Grossman's harder-edged runs. The contrast is satisfying.The title cut offers the best sense of the musical camaraderie the group enjoys. It's a bright, swinging piece that aptly reflects its name. After you hear it, it will be your turn to smile.It's a shame that musicians like Grossman continue to have to go overseas to find labels like Dreyfus (French) to release their stuff. Grossman and other fine jazz craftsmen just can't seem to find a sympathetic ear in a U.S. recording industry that is largely tone-deaf."