Laszlo Gardony’s CD 'Signature Time'

Pianist and composer Laszlo Gardony’s ninth recording, titled Signature Time, revels in the various African-based musical styles that helped influence the growth of this age old style. By extracting elements from African, gospel and swing music, Gardony plays with time signatures and radical harmonic methods. He has released six albums with his trio, which consists of nine-year trio veteran John Lockwood on bass and Yoron Israel on drums. Yet, on Signature Time, Gardony’s trio has an added fourth member, saxophonist and vocalist Stan Strickland.

The opening track, titled “With You at the Bridge,” begins with soft yet lively piano from Gardony, with Israel on drums in the background. The title for this song is appropriate since listeners could envision hearing this song as they leisurely stroll along a lovely overpass. In addition, Israel’s drums get more noticeable as the track goes on.

“On African Land” is the album’s second track. In it, Lockwood leads off with ominously low bass notes with Israel’s drumming playing gently in the background. Then, Gardony utilizes a 13-bar format instead of the standard 12-bar blues format as he cheerfully tickles the ivories. The happy piano work is a welcome contrast to the somewhat gloomy bass play by Israel. As the track continues, Israel’s drumming can be heard more vehemently. It is this rhythmic drum beat that gives the track a tribal feeling. As Gardony’s piano, Israel’s drums and Lockwood’s bass collectively play, a unique musical composition is formed fusing tribal tones and contemporary jazz pulses.

The third track is a remake of The Beatles’ hit, “Lady Madonna.” It begins with fun, danceable, blues-like piano from Gardony with Israel’s drumming arrival sounding just as sprightly. This track’s infectiously joyous tone might make listeners unable to stop themselves from getting up and dancing, whether alone or with the person nearest to them.

The late pianist and composer George Shearing’s “Lullaby of Birdland” is the album’s fourth track. Lockwood’s bass and Israel’s drums get this track going. The combination of beats emitted by these two instruments once again brings about a tribal-like tone. As the bass and drums play a repetitive melody in the background, Gardony then sweeps in with soft piano notes and Israel’s drumming becomes more subdued as does Lockwood’s bass. There are sporadic pauses throughout the track as Israel’s drumming gets more pronounced at times, as Lockwood’s bass does the opposite and gets very low.

“Silent Words,” the album’s fifth track, leads off with cool yet mysterious sounding drum work from Israel. Then, Gardony’s piano and Lockwood’s bass follow suit emanating shadowy rhythms. This song’s title is right on the money since its melody could make listeners picture the inside of a smoke-filled jazz club as two patrons lock eyes across the dance floor and an unspoken connection is made. Gardony’s magical sounding piano work could reinforce this image as Israel’s drumming continues faintly in the background.

The ninth track, titled “Spirit Dance,” starts with Gardony playing deep piano notes while Israel’s drums slowly fold into the melody. Then, Strickland’s haunting moan-like vocals could send chills down listeners’ spines with its somewhat spooky vibe. This would be the perfect song to play during a séance or some other mystical event where apparitions from the other side are being called forth.

In conclusion, Laszlo Gardony’s Signature Time portrays perfectly why the New York Times praised him for his “fluid pianism.” If you are a fan of an artist who puts his own spin on traditional musical genres and the result is unforgettable tracks that will linger in your mind long after the album’s last track has been played, Laszlo Gardony’s Signature Time is the album for you.