Reviewed by Michael Barbara

What a formative year for jazz….1959 brought us a literal avalanche of groundbreaking music, and in the process it’s fair to say that it gave rise to an entire generation of jazz devotees.  Miles Davis’ landmark Kind of Blue sits atop most of our must have lists, with John Coltrane’s Giant Steps, Charles Mingus’ Mingus Ah Um, and Ornette Coleman’s The Shape of Jazz to Come, all close behind.  In the same year, stretching beyond the classic jazz genre, Time Out by the Dave Brubeck Quartet opened up the music to a wide commercial audience, and brought the first million-selling jazz single “Take Five,” to the airwaves.

It was what Philadelphia based pianist Eric Mintel describes as “the rhythmic qualities and the lush melodies” that drew him to Brubeck’s music, adding “it was accessible and I knew almost immediately that’s what I wanted to play.”  With his masterful, finely honed technique, and his “band of brothers” that comprise the Eric Mintel Quartet, the 2009 release of 50 Years After…is a fitting tribute to the music of Brubeck, played with a contemporary flair, and creative direction.

Mintel’s Quartet is rounded out with Nelson Hill on alto / soprano sax, Dave Antonow on electric bass, and Dave Mohn on drums.  Recorded at New Jersey’s Bennett Studios, recording engineer Jim McGee expertly captured the natural swing and vibe of EMQ’s live performances, which encompass a blend of crafted, structured melodies and soaring solos.

Opening with “Blue Rondo a la Turk,” (as did Brubeck’s Time Out) the familiar 9/8 riff soon blends into Hill’s softly swinging solo, and incorporates some double-time breaks before settling seamlessly back to the head of the tune.  “Three to Get Ready,” as the name implies, begins with an interesting contrast of time in 3/4, before Hill and Mintel take off on solos that work off the jazz waltz / swing feel.

The immediately recognizable opening of “Take Five,” remains true to Brubeck’ original (penned by Paul Desmond), with Hill’s sax and Mintel’s piano solos offering a hint of a more contemporary flavor.  Mohn’s abbreviated drum break gives a respectful nod to Joe Morello’s original extended solo, and provides a segue back to the main theme.

“Cassandra,” beautifully exhibits the driving beat that’s a signature of the Quartet, with Antonow and Mohn providing a solid feel and time.  The transition to “Koto Song,” provides the first glimpse to Mintel’s nuanced interpretations, with Hill’s mournful and haunting sax offering an introduction to a bass solo that clearly showcases Antonow’s melodic insights and subtlety.

The upbeat and familiar “In Your Own Sweet Way,” once again demonstrates the buoyant feel of EMQ, and very clearly exemplifies the quote in liner notes from Dave Brubeck that “everybody was happy at this session.”

Rounding out the disc are beautifully executed versions of “Nomad,” and “Unisphere,” both providing a showcase for Hill and Mintel’s intricate, but always melodic solos.  Fittingly, Mintel’s solo piano offers “Strange Meadowlark,” as the closing number, with his obvious, lifelong love for the music coming through, and serving his ultimate goal of keeping it alive and contemporary.

Frequently appearing at Madison New Jersey’s Shanghai Jazz, the Quartet recently performed several selections from this album, celebrating the CD Release, to an always appreciative audience.  With a set comprising “Take Five,” “Blue Rondo,” and “In Your Own Sweet Way,” the Quartet offered a wonderful cross-section of Brubeck’s music.  Mintel’s own aptly named “Keepin’ the Faith,” offered a rousing closer.  It was most interesting to see the reaction from the house…sitting with our young friends (and aspiring musicians) Billy and James, they were drawn to the rhythmic precision of the group, and the polished presentation.  The Quartet’s appeal also obviously extended to the more senior segment of the audience, judging from all the smiling faces in the room .