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Clarinetist Don Byron's albums frequently reflect an ongoing battle for control between two sides of his artistic identity: the virtuoso instrumentalist and shrewd conceptualist. Sometimes, in mounting his concepts, which have ranged from a tribute to klezmer king Mickey Katz to an album of tunes by offbeat '30s bandleaders John Kirby and Raymond Scott, he hasn't given his playing free enough rein. With Ivey-Divey, inspired in part by a great 1946 album teaming tenor legend Lester Young with pianist Nat King Cole and drummer Buddy Rich, Byron gives each side of his talent a fair shake. Honoring his source, he offers his own luminous take on tunes from it including "I Cover the Waterfront" and "I've Found a New Baby." While paying homage to Young, though, he cuts loose to deliver his freest and most dazzling performance on record. Emphatic where Young was famously laid back, soaring where Young floated, he joins forces with the brilliant, adaptable young pianist Jason Moran and fearsome drummer Jack DeJohnette (sounding great these days, having pared back his excesses) to create a classic of his own. No standard-issue tribute, Ivey-Divey includes intriguing reworkings of two Miles Davis classics, "Freddie Freeloader" (from Kind of Blue) and "In a Silent Way," and the gleeful original "'Leopold, Leopold ... ,'" a nod to Bugs Bunny's impersonation of conductor Leopold Stokowski. Then there's the boogie woogie classic "The Goon Drag," on which Byron gives a rare sampling of his sound on tenor, joined by trumpeter Ralph Alessi and bassist Lonnie Plaxico. Everything's ivey-divey, and hunky dory as well. --Lloyd Sachs

Ivey-Divey

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