(Post-Bop) David Gilmore - Transitions - 2017, MP3, 320 kbps

The talented soloists are the highlight of the album, though small mistakes and a lack of continuity keep it from reaching its full potential
After appearing as a sideman on several recent Criss Cross releases, this 2017 album is guitarist David Gilmore's first as a leader for the label. He tackles a program of mostly covers, with a few originals mixed in, with a quintet consisting of tenor saxophonist Mark Shim, pianist Victor Gould, bassist Carlo De Rosa, and drummer E.J. Strickland. Vibraphonist Bill Ware and harmonica player Gregoire Maret also make guest appearances on one track each.
The program starts with an original by Gilmore, "End of Daze." The piece is rhythmically intricate and busy, with a knotty melody played in unison by Shim and Gilmore over the driving rhythm section. The solos are good, with each soloist taking things in a slightly different direction, however the rhythm section is somewhat relentless, at times playing too much, usually spurred on by Strickland's busy drumming. Gilmore's other original "Spontanuity" takes a more restrained approach, and is stronger for it. The subtle backbeat behind the simple melody isn't especially memorable, but the soloists all expand nicely on that melody, especially Shim, whose dark, earthy tenor tone lends a bit of an edge to the relatively "safe" tune.
Gilmore's choice of cover material that makes up the remainder of the program is quite varied. There are several post-bop classics: Woody Shaw's "Beyond All Limits" proves to be a good fit for the band and then two by Bobby Hutcherson. "Blues Mind Matter" starts with a busy weaving of melody and rhythmic hits, though the solos are fairly successful over a brisk swing feel. For the other Hutcherson tune, "Farralone," Gilmore augments the quintet with vibraphonist Bill Ware. Unfortunately the addition of this extra voice just complicates the already-too-busy rhythm section and doesn't really add much to the tune.
"Bluesette" is a tribute to Toots Thielman, and Shim is replaced for the track by hamonica player Gregoire Maret. The harmonica isn't always a popular instrument in jazz, but it's difficult not to be impressed with Maret's command on the instrument and the fluidity and effectiveness of his phrasing. Still, the change in instruments for this one track feels out of place on the album. Annette Peacock's "Both" is an interesting choice of covers, with a short melodic fragment leading into a somewhat aimless free improvisation. Victor Bailey's "Kid Logic" is a fun contemporary tune with Strickland switching over to hand percussion and the album closes with Gilmore on acoustic guitar for a serene ballad version of Hermeto Pascoal's "Nem Un Talvez."
There seems to be a very intentional sense of variety to this album, but the variety is so extreme that the album definitely lacks a cohesive feeling and spirit. The pieces are generally well-executed, though most members of the band occasionally fall into the trap of playing "too much." Strickland is especially guilty of this, with too many busy fills and extra cymbals getting in the way of the soloists. Gilmore and Gould both play engaging solos throughout, though sometimes it feels like they get in each other's ways while comping. The individual tracks themselves show potential from this group, but overall the album suffers from a lack of continuity and occasional overplaying.
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