Conventional Jazz runs through this debut recording by influenced musician, Harry Waters.  With a collection of musicians to assist, including saxophonist, Ian Richie, this set of ten+1 (bonus cut) instrumentals underscore a fascination with the basic tenets of structured studio works laid out by originals like Oscar Peterson and Bill Evans (both listed as high influences).

Each originally written track is a quality, studied composition.  The tunes are lively, brilliant pieces that entertain, especially if you are a fan of late ‘50s, early ‘60s Jazz works.  Waters is a UK student of Jazz, who has given himself over to his work with a  studied application of learned principles of the vintage style of Jazz that he attends to.

The album’s opener, “Blues in G” is a lively standard piano piece that will be familiar to Jazz aficionados, not in composition as this is an original, but in style.  It is followed in style by “Jumping,” and is improved upon in the swinging “Peterson’s Bounce.”  “Rum and Coca Cola” gets ragtime in with the sprightly piano of Harry Waters providing the lift.  I love “Spring Stepping” with its pensive meandering and its wonderful sax work.

The inclusion of an earlier recorded work, “Jarrett’s Dream,” as a bonus track is sheer gold.  It is very inventive and has an air about it that is quite extraordinary.  It is a step away from the sound of this album but not too distant that it detracts.  It adds acoustic guitar and has a tone of experimentation not heard in the album’s main tracks.  The sax work is strong enough that the song should easily remind you of the influence of another band.  I’m very glad that it is here. 

Given that this is his debut and that he is a student of the genre that he so willingly participates in for this set of collected tunes, it should be said that future recordings should yield more personal experimentation, especially given his pedigree.

Did I say that Harry Waters is the son of Roger Waters (Pink Floyd)?