For the Record...

Paul Smith, Bob Bowman, Todd Strait & Friends
More Soundtrek Sessions!

PBT 012
Personnel: Paul Smith, piano, keyboards, vocal; Bob Bowman, bass; Steve Rigazzi, bass; Todd Strait, drums and percussion; Tim Cambron, drums; Natalie Twigg, oboe; Maria Perry, vocal; Bryan Hicks, vocal; Mike White, tenor saxophone; Rod Fleeman, guitar; Mike Metheny, flugelhorn, EVI, cornet.

Tracks: Emmanuel, The Days of Wine and Roses (Killer Roses), The Dolphin, There’s No You, A Beautiful Friendship, I’ll Be Seeing You, Emily, Summer Soft, Blame It On My Youth, Just In Time, Everything, Indian Summer, You and I and George, Do You Know What It Means To Miss New Orleans, Till Later.

Recorded at Soundtrek Studios, Kansas City, Missouri. Engineered by Ron Ubel.

This is Paul Smith and the good ol’ PBT Trio with their second collection recorded at Soundtrek. This has been programmed
as if it were a concert set, and the result is a cohesive 76 minutes of jazz. The beautiful melody of “Emmanuel” is an immediate
attention grabber. Natalie Twigg’s oboe is the voice here, aided by Paul on keyboard, Todd Strait on suspended cymbal, and Mike Metheny on EVI.

The PBT Trio part of the set follows. This is a trio with a common vision, and they’ve developed a rapport that has resulted in a “PBT Sound”. They start with “The Days of Wine and Roses (Killer Roses)”, the Mancini classic with the familiar opening rhythm and line from “Killer Joe” used as a base. It is pure straight-ahead PBT, with Paul seeming to surf on a perfect Bowman-Strait wave. Nice Bowman – Strait fours follow the typically well-constructed Smith solo. Mainstream piano trio heaven! “The Dolphin” is a feature for Bob’s bass, is there who can play a melodic bass line like Bob Bowman? Todd loves the bossa nova, he uses a light touch with his hands on the drums behind Bob. Paul takes the head on “There’s No You”, and the variations in rhythm add to the interest. I enjoyed Todd’s snare work leading into Bob’s solo here. Todd the tom-tom master is a highlight of “A Beautiful Friendship”, and Paul shows off his ability to spin single note melodies as well.

It’s PB no T as Maria Perry joins Paul and Bob for “I’ll Be Seeing You”, another standard that never gets tired. Maria’s voice has crystal-clear clarity, and the spare setting allows it really stand out. It’s all done fairly straight, the tune and voice carry the day, Paul and Bob trade fours in their solo.

PBT regroups for the next three. “Emily” is a swinging waltz, pay particular attention to Bob’s work behind Paul’s solo here. “Summer Soft” is the Stevie Wonder tune, and Paul plays his keyboards here over a light Latin rhythm with a little backbeat. Might be a few dancers on the patio during this one. “Blame It On My Youth” is another opportunity to hear Bob state a ballad melody. I could listen to him do this all night.

At this point Paul moves into the “special guest” part of the proceedings, first by bringing on new rhythm partners in bassist Steve Rigazzi and drummer Tim Cambron. They take on “Just In Time” up tempo, straight-ahead, and the fours between Paul and Tim are a highlight. Cambron has a short intro on “Everything I Love”, there is a nice Latin rhythm here. Rigazzi gets a solo turn here as well.

“Indian Summer” brings on the next guests, as Mike White’s tenor and Rod Fleeman’s trademark guitar join Paul. You’ll here the Fleeman touch two ways – his impeccable rhythm guitar, then some solo work with Paul comping in support. Bryan Hicks then joins the party – with PBT and Mike Metheny’s muted cornet – for “You and I and George”, with Paul Smith vocalizing a bit as well. I think the guys might have had some fun with this one. You may laugh. I did. And so the party switch was officially turned on, and “Do You Know What It Means to Miss New Orleans” gets it in gear. PBT gets some extended percussion support on “New Orleans”, but hardly needed it. You’ll dig Todd’s straight march opening.

“New Orleans” is the tune that has the crowd on its feet, the rhythm and spirit is infectious. Probably need to get them under control a little, and there is no better way than with a Paul Smith – Mike Metheny ballad duet. “Till Later” is Mike’s tune, and Metheny’s melody and flugelhorn are the stars here. It’s the right way to finish an especially strong and expertly programmed and paced set.

—Roger Atkinson