Diamondhead is
David "Fathead" Newman's seventh album in as many years for High Note. It was issued a few weeks short of his 75th birthday with his longtime collaborator and friend
Houston Person as co-producer. The band assembled for this date is made up of longtime associates of the reedman; most of whom have actually appeared on his High Note releases. Fellow Texas native
Cedar Walton is in the piano chair (virtually the same age, the pair attended the same high school but didn't play together until the '60s), and legendary trombonist
Curtis Fuller is on the other horn -- he has known
Newman and played with him since the '80s, as has bassist
Peter Washington. Drummer
Yoron Israel was instrumental in creating the great depth and breadth of
Life, the last
Newman offering on the label. This outing is very different. It is a solid jazz date with some wonderful post-hard bop and soul-jazz touches here. Standout tunes on this set include a beautiful, elegant, deeply soulful reading of
Billy Joel's "New York State of Mind," with excellent solo work from
Newman on flute, alto, and tenor, and
Walton on piano. The title track is one of the harder swinging, blues oriented tunes
Newman has written in a while, and
Fuller's solo is popping.
Walton's fills and comps around
Newman's tenor are killer. The deep groove is pure Texas rhythm and blues by way of
Hank Mobley and
Ray Charles.
Newman does a wonderful job of weaving these various sources into a single tight-knit composition.
Walton's "Cedar's Blues" features some truly fiery work from both
Fuller and the pianist, and
Israel's slippery breaks may be subtle but they add the funky backdrop necessary for
Walton's knotty line to breathe. There is a beautiful reading of the
Hoagy Carmichael/
Johnny Mercer standard "Skylark," that contains more of
Mercer's beautiful melody than not, and
Newman's tone is at its richest and most expressive despite the slow tempo of the tune. Two other
Newman compositions, "My Full House," and "Mama-Lou" are also steeped in gospel and blues. The former could have been played by the
Charles band except for one thing: there is a beautiful little Latin trace in
Israel's rhythmic pulse that adds texture and space to this, making this mid-tempo blues not only prime for honking, but also for dancing.
Fuller's solo is deep as well. Uh-huh. The latter cut is a killer showcase for the
Newman flute. Ever since he took it up in the '60s, he's been a monster on the thing, and the way he and
Walton interplay on the melody on this blues is killer.
Washington's bass here is stellar as it covers the middle ground for
Walton to begin his fat two-handed chord counter to
Newman's solo. When he eventually moves to the right hand, he's moving about the middle register and turns the melody inside out with some humor tossed in via some playing around with quoting the "Mexican Hat Dance," and in the next chorus going right to
Duke Pearson and
Ramsey Lewis. This is a stellar little quintet date and offers living proof that
Walton,
Fuller, and
Newman show no signs of slowing down. ~ Thom Jurek