E.E.R.

 

 


Ingrid Jensen, Higher Grounds (CD, 58:20); Enja ENJ-9353 2, 1999
Enja Records
P.O. Box 190333
D-80603
Munich, Germany
Cyberhome: www.enjarecords.com


        Ingrid Jensen is a young trumpet/flugelhorn marvel who assembled a 
stellar lineup for her third Enja CD, Higher Grounds. With 
Gary Thomas on tenor sax and flute, David Kikoski on piano and Fender 
Rhodes, Ed Howard on bass, and Victor Lewis on drums, you know the 
session is going to burn hot. From the invigorating melody of Lewis's 
"Seventh Avenue"-executed with stunning precision by the entire 
ensemble-to the gorgeous straight-eighth groove of Maggi Olin's "Land 
of Me," this CD packs punches from beginning to end.
	The Fender Rhodes "has become a drug" for Jensen, and she 
relies on the instrument heavily: on "Higher Grounds," Ted Nash's 
"Longing," the intro of Chick Corea's "Litha," and Jensen's 
provocative arrangement of "I Fall in Love Too Easily." Those fond of 
Kikoski's sporadic Rhodes features with the Roy Haynes group will 
want to check out these performances. Thomas plays flute on many 
tracks, providing additional instrumental color; his solos on "Higher 
Grounds" and "Litha" are so good it's downright startling. The 
Rhodes/flute combination is at its most alluring on "Longing."
	I wouldn't say that much ground is broken on this disc, as 
great as it is. The title track is the sole Ingrid Jensen original, 
and it's a bit derivative of the Miles in the Sky sound. "I 
Fall in Love Too Easily," a staple of Miles's repertoire, also 
signals Jensen's indebtedness to the master. The group interprets the 
standard as a bright waltz, which is a refreshing departure from the 
usual ballad treatments; Kikoski throws an additional curve by 
reverting to cut-time for his solo. A unison bass/Rhodes vamp figure 
begins the tune and recurs in between the soloists, which sounds 
awesome but again very consciously borrows from late 60s-early 70s 
Miles. One might say that this cut is a revealing example of where 
Jensen's at: derivative and original ideas coexist within the very 
same track, vying for prominence.
"Litha" is expertly played, but save for Thomas's flute solo, doesn't 
add much to Chick's original version. Woody Shaw, a pivotal influence 
for Jensen, played on "Litha" way back when, so the decision to 
record this tune is perhaps another instance of wearing her 
influences a bit too much on her sleeve. Same goes for Freddie 
Hubbard's "Dear John," although it's a joy to hear these folks solo 
over Giant Steps changes-especially Kikoski, whose own version of 
Giant Steps a few years ago remains one of this decade's most 
significant contributions to jazz. Fans of the pianist will also want 
to listen closely to his composition "Juriki," this album's second 
track.
	Ingrid Jensen's pen and horn are works in progress, but what 
an absolute delight to listen in as she strives to locate and refine 
her own artistic voice.
~David R. Adler


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