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Boris Kozlov: Double Standard

By Dan Bilawsky
November 11, 2010
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Selling a solo bass disc—both artistically and commercially speaking—is no easy feat. The demanding physical aspects of such a project, requiring a bassist to have the endurance to sustain perpetual motion and interest on such a behemoth of an instrument, is one problem. Another issue is general marketability. The average jazz fan might be quite happy to sit through a lengthy solo piano or guitar program, but solo bass is another story. While these two areas of concern have led some bassists to shy away from recording a solo project, others, like Boris Kozlov, have forged ahead, undaunted by the potential pitfalls.

Kozlov, best-known for his role as bassist, arranger and musical director with the various Sue Mingus-sanctioned

Charles Mingus

bass, acoustic
1922 - 1979

" data-original-title="" title="">Charles Mingus tribute outfits, isn't afraid to roll up his sleeves and get down to business. His own "Kowloon Bass Check" starts things off with a bang, as he occasionally provides deep anchoring notes amidst rapidly running lines. The music then moves toward a slower, blues-infused section, with an implied swing feel.

While Kozlov follows that up with a nod to the great

Miles Davis

trumpet
1926 - 1991

" data-original-title="" title="">Miles Davis with "Solar," his take on

Billy Strayhorn

piano
1915 - 1967

" data-original-title="" title="">Billy Strayhorn's "Isfahan" is of greater interest. A large part of Strayhorn's magic came from the way he would voice a chord across a big band, so performing one of his pieces as a solo bass work presents a particular challenge. Fortunately, Kozlov's mastery of pacing, ringing notes and quickly strummed sounds allows for a broader sense of harmony than might be expected here, and the music even takes on a bouncy feel toward the end.

Joe Henderson

saxophone
1937 - 2001

" data-original-title="" title="">Joe Henderson's "Inner Urge" is a real barnburner, giving Kozlov another chance to flex his finger muscles, but the best bass bounty comes after it. "RGB/Self Portrait In 3 Colors" features multiple arco overdubs that create a deeply resonating heaven of harmony. At first, a lone plucked presence is heard, but then an angelic arco line, producing cello-like sonorities, joins the mix. Extra bowed lines are added, until a rich blend of bass voices rings through the speakers. While multiple bass overdubs have the potential to sound muddy, Kozlov's expert intonation keeps everything in balance.

Stevie Wonder

vocals
b.1950

" data-original-title="" title="">Stevie Wonder's "Overjoyed" maintains an upright stature (no pun intended) as Kozlov delivers the piece with a sensational rhythmic sense. Ringing overtones add to the performance and create some brilliant sounds.

Scott LaFaro

bass
1936 - 1961

" data-original-title="" title="">Scott LaFaro, famed bassist with the

Bill Evans

piano
1929 - 1980

" data-original-title="" title="">Bill Evans Trio, is given his due with "Gloria's Step," and

Horace Silver

piano
1928 - 2014

" data-original-title="" title="">Horace Silver's "Peace" takes on a recital-like air with Kozlov's quasi-classical arco interpretation. The bassist's own "Anatole," which slowly draws interest and eventually picks up on a bouncy Brazilian vibe, closes out the program. Double Standard may not find a huge audience, but the audience that finds it will have plenty to appreciate.

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Track Listing

Kowloon Bass Check; Solar; Isfahan; Inner Urge; RGB/Self Portrait In 3 Colors; Overjoyed; Gloria's Step; Peace; Satellite; Anatole.

Personnel

Boris Kozlov

bass, acoustic

Boris Kozlov: bass.

Album information

Title: Double Standard | Year Released: 2010 | Record Label: Self Produced

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