In concert_ Jimmy Cobb at Bohemian Caverns

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Posted at 10:44 AM ET, 01/23/2012
In concert: Jimmy Cobb at Bohemian Caverns
By Michael J. West
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Jimmy Cobb remains a jazz drumming force more than 50 years after his performance on Miles
Davis’s “Kind of Blue.” (Photos by Marlon Correa/TWP)
Jimmy Cobb was the drummer on “Kind of Blue,” Miles Davis’s 1959
masterpiece; a half-century later, the implacable swing he brought to that
landmark album is undiminished. As if to prove that age is just a number,
Cobb, a native Washingtonian who turned 83 last week, celebrated the
occasion at his youthful hangout, Bohemian Caverns, with an evening of
straight-ahead jazz standards, played with an intensity that would
challenge men half his age.
Indeed, two of the men in Cobb’s quartet (billed as “Jimmy Cobb &
Friends”) are about half his age. Tenor saxophonist Javon Jackson and
bassist John Webber, both in their 40s, have skill and energy to spare.
Cobb effortlessly kept up with them — and veteran pianist George
Cables — on burning renditions of “My Shining Hour” and “If I Were a
Bell.”
If anything, they kept up with Cobb, who challenged his own long-held
reputation for a relaxed style. Instead, he was alert and relentless,
hammering the cymbals, following them closely on the snare, while his
face betrayed a deadly focus and determination. Cobb’s virtuosic solos
on the aforementioned pieces were tours de force, as fresh and
resourceful as a newcomer out to prove himself.
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Though Cobb’s position at the helm of the band was never in doubt,
Jackson was the ensemble’s lead melodic voice. He approached the
repertoire with lean lyricism and explored the hidden possibilities of
standby bebop riffs. But his gruff, harmonically tense edge was quick to
surface, first flexing its muscles on “Someday My Prince Will Come” and
rising to a fever pitch a la John Coltrane on “Kind of Blue” ’s signature
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Webber was also in fine form, his bass walks so assured they might be
better described as sashays and his solos poetry in melodic and rhythmic
motion. It was Cables, however, whose sparkling piano work most
closely competed with Cobb’s. Flawless yet never lacking in warmth, his
extended intro on the ballad “You Don’t Know What Love Is” inspired
Cobb to stage-whisper to Jackson, “That boy’s a genius!”
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