One of the anomalies of jazz is that name recognition is often equated with ability. That is, if someone’s made a lot of records, he must be great, right? On the other side of the coin is the great musician who hasn’t recorded. For example, Peck Kelly, the Texas piano legend, never did make a widely distributed recording. Bill Evans was in his middle twenties before he recorded a solo, Wes Montgomery was in his early thirties, and both had already been on the road with name bands.

Similarly, now we have veteran guitarist Steve Rochinski’s recorded debut. Steve was born in Washington, D.C., on January 20, 1954. He’s a graduate of the Berklee College of Music in Boston and a faculty member there since 1984. He’s been a sideman with Pete and Conte Candoli, pianist Bob Dogan, trumpeter Tim Hagans (another veteran who’s finally getting recording exposure) and others. Steve’s studies with Tal Farlow have borne fruit in a book, The Jazz Style of Tal Farlow (Hal Leonard Corporation, publisher), and he has appeared with Jimmy Raney and Attila Zoller as well as Farlow in concert. But if you hear an echo of Farlow’s sound in Rochinski’s playing, it is just that – an echo. Steve has a much more angular approach both instrumentally and in his compositions.

There are six Rochinski originals on this album. “A lot of the inspiration for ‘Spleetus and the Yope-Yope Man,’ ‘Until Further Notice’ and ‘A Simple Derivative’ came primarily from being knocked out by Herbie Nichols,” Steve says, referring to the obscure pianist who recorded in the fifties for Blue Note and other labels before passing on in 1963. “There is an unpredictable kind of quality in his chord progressions, almost like pedaling backwards harmonically. I wanted to capture that quality on ‘Spleetus’ and ‘A Simple Derivative’.” Steve also acknowledges a compositional debt to Wayne Shorter. “Wayne is somebody I have always looked to for a source of inspiration. That’s particularly evident, I think, on ‘The Reception’.”

Tunes by two of Rochinski’s former associates, Bob Dogan and Tim Hagans, are also included. Dogan, a Chicagoan whose playing credits include a
stint in the Buddy Rich band, composed “Springbird,” which is almost entirely in 7/4 time. Hagans’ “For The Music” and “Dorothy’s Lesson” were in the repertoire of a band he and Rochinski had together several years ago. Hagans’ employers have included Stan Kenton, Bob Mintzer, and Joe
Lovano. There are no well-known standards on the set, but Rochinski has included two tunes from the sixties that are known within jazz circles. Of Hubert Laws’ “Shades of Light” and “Little B’s Poem” by Bobby Hutcherson he says, “They’re very beautifully constructed melodic and harmonic gems and I don’t think people hear them enough.” They’re done here as duets with pianist Tony Germain, who has recorded with Nashville vibist Jerry Tachoir as well as with Danny Harrington.

Rochinski has been unusually generous with solo space for all hands on this album (all Berklee faculty members, by the way), and they take full advantage of their opportunities. Pianist Tony Germain has already been mentioned; bassist Barry Smith’s credits include work with the Ira Sullivan/Red Rodney Quintet and Lionel Hampton. Drummer John Ramsay had the unusual experience of being second drummer in Art Blakey’s Big Band as well as working with James Moody, Sonny Stitt and the Clifford Jordan Big Band. Drummers don’t usually get features on other people’s records, but Rochinski’s original “The Multitudes” gives Ramsay ample opportunity to shine.

This, then, is a strong debut album by a guitarist who has been around long enough to have a good idea of what he wants to say and how to say it. It
repays careful listening.

Phil Bailey Host of Jazz Today, WFPL Louisville, KY 11-27.94