Review of Ari Hoenig / The Painter in Jazz Review (UK), issue 55, April 2004.

Trio versions of "I Mean You" and
"Summertime", with Schwarz-Bart
laying out, open and close. In
between the quartet material is all
written by Hoenig, in one case with
an assist from the tenor-player.

The outside material has been
chosen, you quickly realise, because
Hoenig can indicate the shape of
the melody from his kit before the
action starts. A little gimmick, but
it doesn't stop the first from being
extremely lively and entertaining:
pianist Pilc plays well to the
drummer, and it skews the
traditional view of the piano trio.
The finale is a confirmation of
what an interesting drummer he is,
able to do gently-swishing and fine
detail, but at his best hammering to
a crescendo and getting a very full
sound out of his kit. The bass
drum's a bit too prominently
recorded throughout: that
sometimes distracts but also
sometimes helps his densest
passages.

As a composer he's less secure;
much of the time there's not
enough in his lines to justify the
attention - and repetition - they
get: the titles in themselves render
a sense of uncertainty perhaps.
Once into open water, however, the
excellent Schwarz-Bart (why does
that name make me think of
something else?) and Penman's
powerful bass can usually goad
Hoenig into yet another rampage
around his kit. Highlight of this
part of the disc is the co-written
"Condemnation", which pressure-
cooks from the start and might
make you think you're listening to
David S. Ware's quartet - when
they're on form too.

Recorded at a New York venue,
some with audience, some without,
it's a remarkable debut album, and
clearly has been carefully prepared,
the range of the band fully declared.
And begs the question - whatcha
gonna do for the next one? No
doubt we'll find out, but for now it's
well worth a listen or three.

JACK COOKE