Whether he invents on classical or blues themes seems to make little difference to Hays.
Returning to the art of the acoustic piano trio, is celebrating the release of his new, right on the mark album North, which his website proclaims focuses on 鈥渉istory, beauty, and hope.鈥�
While those three artistic ideals might sound like the dreamy aesthetic of a 19th century romantic poet, Hays -- a 21st century pragmatic poet with a true sense of direction -- and his New Day Trio sidekicks -- the remarkable bassist Rob Jost and drummer Greg Joseph, live up to their quest for all three of these wholly worthy artistic goals or personal holy grails.
Besides evoking the trinity of 鈥渉istory, beauty and hope,鈥� the trio revels in traveling smoothly in multiple musical directions. Its bold path reflects the pianist/composer鈥檚 genre-crossing passion for jazz, classic blues, classical music, soul, folk, rock, and folk rock.
The bright new CD, on the aptly named Sunnyside Records, also shines light on Hays鈥檚 scintillating gift for thematic improvisation, fluent phrasing, sparkling tone, and lucid articulation, plus his smooth prestidigitation with time signatures and smart, luminous harmonic surprises.
More than likely, Hays will dip into the diverse repertoire on his just released disc as he leads his trio on Friday, November 18, in sessions at 8:30 and 10:00 pm at New Haven鈥檚 , 45 Crown Street.
Along with original compositions, the new disc also features the pianist鈥檚 no less original, exploratory arrangements 鈥� punningly referred to by him as 鈥渄erangements鈥� 鈥� of venerable pieces ranging from bebop king Charlie Parker鈥檚 鈥淪crapple from the Apple鈥� to folk and blues legend and Rock and Roll Hall of Famer Lead Belly鈥檚 鈥淲here Did You Sleep?鈥�
For the Firehouse 12 sessions, Hays will be accompanied by bassist Ben Street and drummer Greg Joseph, a much-in-demand player who鈥檚 worked with artists ranging from Steve Kuhn and Madeleine Peyroux to Paul Anka and Art Garfunkel.
North is the sequel to the pianist/composer鈥檚 2015 release on Sunnyside simply called New Day, a disc that showcases him as a multi-faceted singer/songwriter, a bit apart from his reputation as one of the great acoustic piano players of his generation.
So here鈥檚 Hays, master of the jazz piano trio format, cutting it on "New Day" as a funky, folk-rock vocalist with a pleasant voice, a singer/songwriter who also plays piano, a Fender Rhodes, and a Wurlitzer, quite cozy nestled among often blues-drenched or folk/rock grooves on tunes and lyrics of his own making.
Adding to the core of Hays鈥檚 New Day Trio are his special guests Tony Scherr on electric and acoustic guitar and, most invaluably, the brilliant Gregoire Maret on harmonica. Maret鈥檚 great blues harp solos perfectly complement Hays鈥檚 gritty vocals.
The funk-flavored spirituality of the CD's title tune, 鈥淣ew Day,鈥� is a celebration of new beginnings, accented by Maret鈥檚 warm choruses, which are as earthy and poignant as Toots Thielemans鈥檚 blues and ballad reflections.
As part of a handful of original homage pieces, Hays pays tribute on 鈥淢ilton鈥� to the great Brazilian composer Milton Nascimento, a selection graced with acoustic piano passages that would fit right in on the pure piano trio pieces on North. Here and elsewhere there are crisp contributions from Maret, Hays鈥檚 soulful alter ego on harmonica.
On his tune 鈥淪ugar Man,鈥� Hays demonstrates his Rhodes scholarship, apparently always as much at home plugged-in as unplugged, electrifying with either option.
With his original, charmingly wacky 鈥淲altz for Wollesen,鈥� Hays even gets to show his sense of humor with his old-timey, saloon style piano playing romping on as fragmented bits of conversation natter away in the background, much like the surreal sound effects used so effectively by the late 鈥�60s and 鈥�70s cutting-edge comedy troupe, The Firesign Theatre.
On North, his new piano trio album, the improvising pianist immediately takes flight on Bird鈥檚 鈥淪crapple from the Apple,鈥� a short but kaleidoscopic piece. Spiking the vintage scrapple up a bit, he utilizes one of his signature techniques to modulate the melody up a half-step after every two bars and then reharmonize.
As part of his creative renewal projects on North, he recreates and retailors such evergreens as 鈥淎ll the Things You Are,鈥� retitled here 鈥淎ll Things Are,鈥� and 鈥淚鈥檒l Remember April,鈥欌�� which, swinging in 6/8 time, proves that April is the coolest, not the cruelest month.
There are tasteful examples of Hays鈥檚 lyrical playing as on the moody, classical sounding 鈥淓legia.鈥� Shimmering with ideas, it鈥檚 punctuated with his periodic contrapuntal conversations with himself, with polyphony popping up in all the right places.
鈥淣orth,鈥� the title tune, which has much to do with spiritual elements, the geography of one鈥檚 state of mind and the discovering of one鈥檚 true north, is a probing piece. Although its inspiration is philosophical, its execution basks in enviably pristine simplicity and lyrical expression.
鈥淰ioletta,鈥� a dancing, celebratory piece in 5/4 time, is a tribute to the neuva cancion singer Violetta Parra with Jost, master of the musical mot juste, joining in on ukulele -- which, against all reason, fits here perfectly.
Although it鈥檚 not the Neil Diamond mega-hit, Hays鈥檚 鈥淪weet Caroline鈥� is a soulful gem of a showcase for Jost鈥檚 double-jointed, double bass virtuosity.
Whether he invents on classical or blues themes seems to make little difference to Hays. He works his strategic mix of new arrangement and invention on such disparate pieces as 鈥淪chumann鈥檚 Chamisso,鈥� spinning fresh ideas on a movement from a Robert Schumann song cycle, to his hip hallelujahs on the aforementioned Lead Belly鈥檚 鈥淲here Did You Sleep?鈥�
Give Hays an inch of thematic material, and, creatively, he鈥檒l take a mile on his bold journeys, using his inbuilt personal compass, set on true North. On his latest CD鈥檚 grand finale 鈥淢orning,鈥� he traverses all 12 keys riding on a melody that takes him down yet another unexplored, promising road on yet another dawning of a new day.
Tickets for the Firehouse 12 shows: $20, first set; $10, second set. Information: and (203) 785-0468.
Final Note
Today鈥檚 Jazz Corridor marks the column鈥檚 final appearance. I want to thank readers for their support and encouragement over the past three years, helping to make it a really enjoyable run for me with WNPR. I鈥檇 also like to thank my colleagues at WNPR, particularly digital content editor Heather Brandon and digital producer Tucker Ives. I鈥檒l continue writing features about arts and entertainment elsewhere, and hope we鈥檒l connect again.
Best wishes to all, Owen McNally
