DOUG WALKER: Concurrent Lines

The double-bass was adopted by jazz outfits starting about a century ago to replace the tuba, which worked just fine in loud nightclubs but tended to overpower the rest of the instruments in the recording studio. As a rhythm instrument whose sonic range lies at the bottom end of the human hearing range, the bass rarely gets much time out front—even when the bassist is the leader.

So it is with Doug Walker’s new recording, Concurrent Lines. While bassist Walker is both leader and composer, much of the lead work is handled by guitarist Victor Baker. But Walker plays his standup bass not unlike a guitar, picking out counterpoints on harmony that underpin Baker’s leads.

And on every track, Walker takes at least one extended solo, with Baker slipping into the supporting harmonic role. Walker’s playing remains as linear, melodic, and lithe in the lead role as he does when supporting Baker.

The music here is smart, sophisticated straight-ahead jazz.

The opening track, “Reality Winner,” has a nice melodic hook as does the closer, “Minor Victory.” Baker’s guitar work is in a Joe Pass-Ed Bickert vein: relaxed yet passionate. He can mix in chordal or dual-note playing with his overall narrative style (as on the opening of “Margaret’s Road”). Regardless of the specific techniques he deploys, his playing is always tasteful and imaginative.

Throughout, drummer Justin Joyce provides a solid, supple foundation for Walker and Baker’s improvisational work. He is, as are most top-notch drummers, sometimes almost invisible—more present through what he provides the others than in his own playing.

Engineer and producer Ian Tordella has done a superb job of capturing and mixing the recording as well: Each instrument is crisp and clear, and none overpower the others.

San Diego has a long (if under-appreciated) history as home to top-notch jazz, and this release shows that it remains as true today as it did when youngsters like Mike Wofford, Daniel Jackson, and Jim Plank were first coming on the scene in the late 1950s.

Note: This album has been nominated by the SDMAs for Best Jazz Album of the Year. Have a listen! Then go vote here: https://dosd.com/p/sandiegomusicawards