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COZZETTI & GEMMILL -
SOFT FLOWER IN SPRING ITI RECORDS
One can't help but think that when the history books are written Bob Cozzetti and Tim Gemmill
will have their names listed in tandem.
That is not to say that they are not due places of their own. Indeed, both are profound talents whose individual efforts
as composers, arrangers, and players are so impressive that they will no doubt continue to please their growing audiences
and satisfy their own musical souls for years to come. But, given that they have worked as a team since their 1968 sideman
beginnings and continue in that same manner as co-leaders, it is only natural to think of Cozzetti & Gemmill as
would Lowe, Burns & Allen or Barnum & Bailey.
They also have a shared musical background that is reflected on both Soft Flower in Spring and Concerto for Padre,
their 1981 debut album.
Meanwhile, each was furthering his abilities in other instrumental areas. As Bob was refining his trumpet skills, Tim was wood shedding
on the piano. With confidence in their new versatility, they formed a bass-less combo, Music Projection Trio, and continued to work in
the Seattle area.
In 1978, Rorschach, by then a quartet with electric bass, became the Cozzetti & Gemmill Quartet, a name reflecting
the democratic spirit of the two leaders.
Cozzetti & Gemmill's first album, Concert for Padre, showed, as my former down beat colleague Lee Underwood
pointed out in his liner notes, a team "well aware of the rich legacy handed them from the masters of the American jazz past."
"Their influences include the immortal John Coltrane, the unique McCoy Tyner, the funky Horace Silver and the
Prince of Darkness himself, the great Miles Davis."
Not much could be added to Mr.
Underwood's observations except to further agree with him that Cozzetti & Gemmill have "their other musical foot
planted securely in the present."
"Tree Leaves", the first side's opening track, illustrates perfectly the point. A Cozzetti & Gemmill
collaboration, the waltz-time piece is strongly melodic and provides a solid basis for the improvisations of Gemmill (tenor saxophone)
and Cozzetti (piano). Particularly impressive is the interaction of the rhythm section with the solos and the insistent swing of drummer
Bob Merrihew.
Similar in feel and effectiveness is the album's closer, "Sweet Dreams", a piece in ¼-time by Bob Cozzetti. Again,
the instrumentation is that of the basic quartet (tenor saxophone, piano, bas and drums) with all of the accepted, and expected, elements
of jazz in their due places. Bassist Steve Bartlett, whose contributions throughout are impressive, displays his faculty and musicality
in a haunting solo.
"For the Rock Artist" another Cozzetti & Gemmill collaboration, no doubt harkens back to the duo's
early days in the background of others' works. Here, though, Bob, on synthesizer, and Tim, on tenor saxophone, are upfront, instilling
rock spirit and jazz intelligence. Bartlett and Merrihew, again, are an effective rhythm team in straight-eighths.
Cozzetti, though a demonstrably capable synthesist, is alone at the acoustic piano for "Tunes Just for You", a delicate
amalgam of melodies that is simply delightful.
"Soft Flower on Spring", the album's title cut, is also the band's favorite. It is easy to hear why. A gently contemplative
piece penned by Tim Gemmill, "Soft Flower in Spring" is a wonderful vehicle for Cozzetti's purposeful trumpet. The tune opens
with Bob playing, out of time, against piano, bass and cymbals. bassist Steve Bartlett, before taking an excellent solo, establishes an
ever-so-slightly funk groove that Merrihew spurs with authority. Gemmill's piano work is superb and together with Cozzetti's trumpet work,
the listener is left wishing that LP's were longer playing, to provide space for more trumpet-piano efforts.
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