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David Berkman, Communication Theory (57:52)
Palmetto PM 2059, 2000
Phone: 1-800-PALM CDS
E-mail: palmetto@thorn.net
Cyberhome: www.palmetto-records.com

On his second CD as a leader, pianist David Berkman complements his regular 
rhythm section, bassist Ugonna Okegwo and drummer Brian Blade, with a triple 
sax team — Steve Wilson, Chris Cheek, and Sam Newsome. Some might find it 
difficult to differentiate the three saxophonists, although on many tracks 
Cheek plays tenor and Wilson plays alto, reducing the confusion to some 
degree.

Berkman’s writing is diversified, intelligent, accessible — and above all, 
swinging. The band starts cooking right off the bat with "Blutocracy," a 
lowdown, hardbop blues. They’re also in high straightahead gear on the 
faster, more ecstatic blues "Back In the 90s," as well as the funny 
rhythm-based tune "Interesting, Perhaps, But Hardly Fascinating Rhythm." But 
Berkman paints with far more unusual colors on ballads such as "Colby" and 
"Remission," contrapuntal delights such as "Blue Poles" and "Really Little 
Waltz," and ambiguous, hypnotic rhythmic constructions such as "Weird Knock" 
and "No Crosstalk." Berkman’s "Communication Theory" suite, consisting of 
three miniatures sprinkled strategically throughout the album, is ambitious 
and unpredictable; conceptually, it bears a resemblance to guitarist Rez 
Abbasi’s "Modern Memory" suite, from an album of the same name.

As a player, Berkman can deliver hard-swinging, high-velocity solos in the 
manner of Joey Calderazzo and Kenny Kirkland, but he also speaks a more 
angular, classically influenced dialect associated with players such as 
Ethan Iverson. Communication Theory is a terrific achievement, and a 
sure sign of great things to come from Berkman. ~David R. Adler





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