Steve Swallow has two public faces, one as an electric "fusion" bassist working with artists like Gary Burton, Carla Bley and of course on his own solo projects. While he may be more associated with that music, in fact his roots are based firmly in acoustic jazz, starting with Dixieland, and then moving out to play with the likes of Paul Bley, Art Farmer, Chico Hamilton and a long list of excellent leaders. Of late Swallow has returned to those acoustic roots. On Damaged in Transit he presents his trio of Chris Potter on sax and Adam Nussbaum on drums, playing a set of nine Swallow originals simply titled Items 1-9, D.I.T.
Swallow notes that the compositions are inspired by lessons he had with Donald Martino some 40 years earlier. He also explains that he agonized over the writing of the compositions, which took more than two years to complete, and that he was relieved to turn to simply playing the compositions on tour. That care and attention is evident in the final recordings, taken from live shows throughout the world. Swallow's compositions are fine pieces, compelling and clever structures that stick in the head yet allow the soloists room to work and express themselves in interesting ways.
The group is well matched, each technically and musically developed to a point that the interplay sounds seamless, pivoting quickly and communicating at a deep level. Chris Potter is probably the most conspicuous of the group, his playing superb and melodically rich, presenting complete thoughts in his improvisations and easily grasping and tearing up the material. His blues solos are passionate and heartfelt, his ballads tender if slightly raspy, and his ability to jump registers and run around his horn is impressive. This is not to slight Swallow, who's playing is rock solid, a warm full sound that anchors and provides excellent counterpoint to the improvisations. No grandstanding, his few solos are economical and interesting, yielding to his compositions and the band's interplay. Nussbaum makes an excellent foil, inserting but never overwhelming, with great ideas that yield the kind of emotional excitement that propels both the player and the listener, but who gently moves back to brushwork and out of the way to provide an shifting foundation for the soloist. This is music from a working band and it shows.
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