Cadence Magazine
July 2007

Omer Avital / Room To Grow
Smalls 20

Bassist Omer Avital headed a lively group at
Smalls in New York City during the mid to late ‘90s.
(1) is the second compilation, focusing on the lineup
from 1996. It is a formidable recording. Starting
with Avital’s folksy-funky droning “Kentucky Girl,”
one gets some intimations of what’s to come. A
very hip opening bass solo leads to a slow funk and
the droning head; then bracing alto solos by
Gregory Tardy and Myron Walden add to the atmosphere.
This band is in no hurry to blow you away.
They build gradually, with drummer Strasser and
bassist Avital locking into a hidden fire they gradually
reveal over the course of the tune. Both altoists
build to a frenzy while completely appropriate long
horn lines build behind. I am reminded of Elvin
Jones’ groups in their peak in the late ‘60s-early
‘70s for the dynamism and energy. Cole Porter’s “It’s
Alright with Me” begins with a nice a cappella bass
solo. A fanfare ultimately introduces Walden with a
fine a cappella statement of his own. Walden is then
joined by bass and drums in a pulsating Afro-Latin
riff while the horn ensemble plays some very cool
harmonies over that before Walden returns for an
idiomatically effective and moving solo. These guys
have a knack—presumably from playing together
often—for hanging in a loose arrangement and
making it project. Tardy on clarinet joins Walden for
a collective improv against the Latin rhythm section.
After this long intro the head is at last played by
Avital with very interesting horn arrangements to
cushion his percussive attack. It is all very impressive.
Then Avital plays another hip solo to drum
accompaniment. Next up is tenor Grant Stewart
punctuated by swinging, punchy collective horn
lines. Both he and the other tenor man, Charles
Owen, acquit themselves well in a post-Trane/post-
Rollins vein. The Coltrane penned “26-2” opens
with a kind of chorale followed by a Garrison inspired
quasi flamenco bass solo before moving
on to a brisk and compelling rearrangement of
the tune for multi-sax counterpoint. After another
bass interlude, each horn player gets a chance to
solo in a Latin-Swing vein. This CD grows on you
with successive listenings.

-- Grego Applegate Edwards