“Harding have formed a musical bond over the last several years that has led to the formation of several groups: the Blutopia quartet that recently released The Calling on Jazzaway, a duo that released the fine Somethin’ Holy on CIMP and a quintet release for CIMP, Premonition. Their latest group, the Tuba Project is, to these ears, their most satisfying recording yet. As one can glean from the title, the attention of this project falls on the tubist. And Ban and Harding are fortunate to have the best current practitioner on the instrument in Jazz on their side: Bob Stewart (although admittedly a case could also be made for Howard Johnson). Always an adventurous
player and an integral part of any group with which he’s a part, Stewart’s work on this disc is on a par with his stellar playing on the various Arthur
Blythe projects with which he’s been involved. It’s clear that Ban, who composed all pieces except for Harding’s “Spirit Take My Hand,” relishes having Front: Lucian Ban, Back: Alex Harding by Bob Rusch
this stellar player in his group and he gives Stewart challenging material with which to work. Of course Stewart does those amazing bass lines for which he is noted. Just listen to him pumping away on “Cajun Stomp.” But Ban’s compositions go deeper than that. For example, “Other Voices” is scored for the three horns and Stewart has some snaky contrapuntal lines that weave through the piece and he maneuvers them with ease. Stewart functions as both a front line instrument and a rhythm section instrument (as he did in Blythe’s ensembles) and
he is clearly enjoying himself. Harding’s big burly baritone is the other dominant voice on this disc. Often he and Stewart trade bass line duties. Harding is an exceptional player and usually a fiery voice in the mix. Here he seems a bit more restrained. But he’s no less effective
because of it. One gets full emotional resonance on his back-to-the-church feature “Spirit Take My Hand.” Tenor saxophonist J.D. Allen is somewhat overshadowed by the other two horn players but he gets some good solos, especially an expansive shouter on “Bluesness Suite.”
Ban’s compositions are the other high point of the date. Some take advantage of classic forms. “Cajun Stomp” draws from funky New Orleans rhythms and form. “Mexican Hat Dance” is a strong
Latin number. Others are good original ideas. “Other Voices,” scored only for the horns, contains intricate three-way passages of written music and improvisatory passages. “Bluesness Suite” takes
the Blues as its starting point but treats the form to original variations and provides substantial and interesting starting points for improvisations. Also, it was a masterstroke to follow the suite with
Harding’s spiritual. These two pieces work together and the spiritual works almost as an extension or coda to the suite.
Tuba Project is a strong session for all involved. Let’s hope this wasn’t a one-off deal. The group format and the playing by all involved cries
out for a second volume. And I imagine live, this group would be a great proposition. by Robert Iannapollo