Facing Left

Along with such players as Greg Osby, Stefon Harris, and Mark Shim, Jason Moran is making jazz that reflects myriad influences, from the traditional bop guard to Icelandic techno artist Bjork to contemporary classical and beyond. But theirs is not some studied attempt at a new music, or a stab at solo stardom created by labels and producers. Facing Left, like the New Directions group and Harris's lauded Black Action Figure, is serious, evocative, gripping, and explorative jazz. With dense, involving support from drummer Nasheet Waits and bassist Tarus Mateen, Moran begins Facing Left with the delicately erotic maze of "Later." "Thief Without Loot" darts over funky grooves with both acoustic and Rhodes piano, kind of a twinkling tightrope walk. Bjork is a favorite among many young musicians, and here Moran covers her moonlight missive "Joga" with elegance and a touch of Thelonious Monk. In fact, Monk surfaces often here (try the rambunctious Duke Ellington track, "Wig Wise"), mostly in Moran's touch. Also present is the luminous grace of Keith Jarrett, the logic of Herbie Hancock, and the lush romanticism of Claude Debussy and Maurice Ravel. Using rhythm like a conjurer's wand, Moran employs weird, stumbling beats in "Yojimbo" and "Battle of the Cattle Acts," while "Murder of Don Fanucci" rides a staggering military march. --Ken Micallef