I USED TO BE ANONYMOUS - stockelm@pipeline.com Peter the Painter, Dance of the Drackots, Blues for Bobby, Wounded Heart, Keep Your Eye On the Ball, Easy Mr. B, Monk¹s Slow Drag, Steppin¹ Out with Mr. K, Tyner Time.
PERSONNEL:  Steve Elmer, piano, composer ; Hide Tanaka, bass ; Shingo Okudaira, drums.

By Scott Ballin

Steve Elmer as the title suggests is not a well known name in jazz , at least until recently. He is, however, a solid pianist and a fine composer (all tracks are Elmer’s originals). This is his third CD, the first two were quartets with saxophonist, Chris Potter.
The first track titled “Peter the Painter” is a medium swinger with Elmer and bassist Hide Tanaka stretching out for some tasty- melodic soloing. Drummer Shingo Okudaira is also featured on some trading, as he is on many of the tunes. The second tune “Dance of the Drackots” is a salute to bebop great Bud Powell and his “Parisian Thoroughfare.” The tempo is up and the trio is cooking from the first measure. The recording is crisp and well balanced.
They continue with another tribute to one of the greats of jazz piano. The medium tempo “Blues for Bobby T” for the soulful Bobby Timmons is a minor blues. Elmer draws from a variety of influences to construct a well developed solo which builds in intensity before yielding to Tanaka’s short, but effective solo statement. Okudaira seem to be digging-in harder than on the other tracks. Perhaps Elmer’s aggressive playing inspired Okudaira’s Art Blakey approach. Whatever the case, “Blues for Bobby T” is a track that will appeal to lovers of hard bop piano and likely elicit repeated listening.
Elmer’s lyrical side is brought on his tender ballad “Wounded Heart.” This well oiled trio plays with a sense of space. This is refreshing in light of the overplaying that dominates some groups I’ve heard. Okudaira’s brushwork add just the right touch of rhythm and color. Elmer and Tanaka engage in a sensitive dialogue before the final statement of the melody. The tempo is way up for “Keep Your Eye On The Ball.” This trio swings at all tempos. Their joy is palpable. Elmer manages a clever “Here Comes The Bride” quote toward the end of his solo providing a brief comic gesture. An up-tempo burner like this is where one would expect a drum solo, and it is delivered in impressive style by Okudaira who keeps it short and swinging.
Proceeding in a more relaxed tempo “Easy Mr. B” is a boppish line for vocalist extraordinaire Billy Eckstein. Elmer builds tension in his solo with two handed cross rhythms. The next nod to the jazz piano legend Thelonious Monk, with “Monk’s Slow Drag.” It begins with some free form bass and drums setting an ominous mood. Elmer comes in with the theme out of tempo, with Okudaira’s providing subtle coloration on cymbals. The tempo is a slow funky bluesy romp evoking the essence of Monk without being a direct copy. The last two tunes are also tributes to piano greats. “Steppin’ Out with Wynton K” sounds more Tynerish than Kellyish with its percussive left hand and angular soloing. The last tune “Tyner Time” is a nice salute to one of the most revered pianists in jazz, McCoy Tyner. Again , Elmer salutes the greats and communicates their style and influence while keeping his individuality.
This is an excellent trio and I look forward to their next recording. Throughout the disc Elmer remains true to his mantra printed on the cover, which is highlighted in red: Classic Jazz: Play the original song, improvise on the melody, the harmony, and the form. Tell a story and make it swing one way or another.
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This is the real thing, straight ahead swinging classic jazz. There are very few players who can invent like Steve Elmer, play long lines that make total sense, and swing like mad. The rapport in the rhythm section is a thing of beauty. This is jazz, just as it should be. Listen!!!
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The STEVE ELMER Trio (Elmer, p;, Hide Tanaka, b; Shingo Okudaira, d) is a very pleasant group, whose I USED TO BE ANONYMOUS (Steveelmertrio, no #) turns in a number of catchy and melodic originals (Peter the Painter/ Dance of the Drackots/ Blues for Bobby T/ Wounded Heart/ Keep Your Eye on the Ball/ Easy Mr. B/ Monk’s Slow Drag/ Steppin’ Our with Wynton K/ Tyner Time.  60:25., February 7 & 8, 2006, NYC, NY) that serve as platforms for amiable swing.  It’s really got the feel of a ‘50s Red Garland session, or something of similar stylistic vintage, and it’s the kind of thing you’d be delighted to hear at your local club.  Elmer’s a likeable player, favoring bright melodies but investing these with a rhythmic snap and sensibility that—owing partly to his mates’ energetic playing—is nicely varied (especially on “Dance of the Drackots” and “Keep Your Eye”).  They sound particularly energized on “Blues for Bobby T” and the fine ballad “Wounded Heart.”  If you happen to spot this one, and you’re a fan of this genre of Jazz, do give it a shot. © Cadence Magazine 2006
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Elmer is a composer who writes gorgeous stuff and the trio really breaks out, but every song is connected by Elmer’s definition of classic jazz, the only words in the CD’s jewel case except for the names of the band and times of the tunes: “Play the original song, improvise on the melody, the harmony and the form.  Keep it swinging one way or another.” 

The thing with a piano trio is chops, empathy for what the other two are doing and timing.   These three have been playing together for quite awhile is what I mean; once the line-up’s solid, the sky is the limit.  And when they are all original compositions they’re playing, watch out.  

The first track, “Peter the Painter,” reveals this with such great delight and swing.  Really, they’ve opened the door wide and let the ancestors in, as they say.  See, what Elmer has managed to do---five of the nine tunes remind and refer you to pianists Bud Powell, Bobby Timmons, Thelonious Monk, Wynton Kelly and McCoy Tyner; another one, “Easy Mr. B,” remembers Billy Eckstein, the black Orpheus who had the gals fainting in the aisles (this before Sinatra), a baritone crooner who developed the first bebop band---is create an element of evocation with an eye toward those who have historically “changed our ears.”  However, he is signifyin’ on their contributions, making it his and “making it new,” rather than parading them down Memory Lane or parodying their styles or merely posturing about their genius.  

My god, man, “Tyner Time” is a mountain of joy!  Word to your mother: you have to smile at the “Giant Steps” reference and his treatment of McCoy and how Tanaka and Okudaira swing underneath.  Sure, it’s a tribute, but the biggest tribute of all is adding your gift to their gift.  And that’s what Elmer has done on each tune.  “Dance of the Drackots” sends out in semaphore a taste of “Parisian Thoroughfare” and Powell’s speed and wit, but it’s got more Elmer in it than anything else.  “Blues for Bobby T” is heaven bound and never quits!  Now that’s what a trio who knew each other well can do.  

“Wounded Heart” is a ballad of such depth of feeling, and it’s followed by the nutty, bop-ish “Keep Your Eye on the Ball.”  I don’t know how Elmer does it, but I feel the way that tune sounds a lot of the time.  Shingo shows what the drums are for and really plays Pac Man on Steve and Hide. The trio certainly can get arrested, weird and wonderful, too; they start out free and morph into an unhurried 4/4 in “Monk’s Slow Drag,” taking us to Japan via Shingo’s cymbals and landing us deep in the blues via Thelonious and a surprise ending.  “Steppin’ Out with Wynton K” is just a little more than you could imagine: there’s mystery meeting mastery, but then there’s that little something extra that Elmer adds that makes the tune spooky yet happily upbeat.  This is his greatest quality.  In a word, the cat is real jazz musician.
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