At just 38 minutes, Moon Beans goes by quickly – but it’s a cheerful sort of brevity. You might think it leans too nostalgic, being steeped in trad jazz, but it feels more like a fond nod to the past than a retreat into it. If you’re allergic to old-school habits, this might not be your cup of tea – but for those who appreciate a bit of sunshine in their sound, it’s a delight.
James Davison plays with exuberance that borders on contagious, a touch of Wynton Marsalis in his tone on Mullov-Abbado’s own ‘Subsonic Glow’ [another version of which appeared on the bassist’s album Effra released last year]. He’s got that gift of making “jolly” feel genuine, never forced.
And the title, Moon Beans – yes, I’ve mistakenly called it “Moon Beams” a few times myself – sets the mood perfectly. This isn’t a moody or overly earnest record. It radiates warmth. Mullov-Abbado pours himself into every note, with that lovely full, reverb-kissed bass tone that makes everything feel lush and alive. It’s generous, not austere – a sound that invites you in rather than keeps you at arm’s length.
There’s comfort in these tunes, like thumbing through a family photo album of jazz standards. Long-time listeners will instantly recognise the style, maybe even some of the tunes, from informal gigs where the hang is half the fun – and this record carries that same spirit.
It’s undeniably a “wine bar and dinner jazz” sort of set, but in the best possible way: convivial, unpretentious, and full of life. You won’t need a therapist after listening – quite the opposite. It’s the kind of record that perks you up, that playful brand of plucky (pun intended) improvising that rummages through the sock drawer of possibilities and always turns up some surprise of a long-lost garment. You get the sense these two genuinely enjoy rediscovering the music together.
In a landscape crowded with ghostly, melancholic piano music pitched as “healing,” Moon Beans is a refreshing dose of resilient joy. It’s cheerfulness a factor that feels earned, not painted on – a warm reminder that music can restore without ever having to brood.
Mullov-Abbado, who dazzled last year on Iain Ballamy and Daniel Szabo’s No Blues on the Danube, is on wonderful form again. His own album Effra showed yet another dimension to his musical matrix.
Here their version of Lee Pollack’s ‘That’s A Plenty,’ a tune that goes back to 1914 and was played early on by the New Orleans Rhythm Kings, is the traddiest thing of all – full of swagger, with some terrific bass flourishes upfront. It stands proudly alongside the Goodman and Condon takes, even while keeping its own playful character. Davison at times recalls Pete Horsfall – keen on the fruity harrumph of a miniature fanfare, expressive, as if the trumpet itself has a personality and the bass is its witty pal trading knowing looks between choruses.
What’s really clever here is how the original numbers, like the spry ‘Sunday’s Mudbath,’ sit so naturally next to the standards. There’s continuity across everything, a shared joy in playing, and a sense of friendship at the core.
Moon Beans doesn’t change the world – it just makes your day a little brighter. And that, right now, might be exactly what we all need.
Full list of tracks
- Maple Leaf Rag – Scott Joplin
- Chega de Saudade / No More Blues – Antônio Carlos Jobim
- Polka Dots and Moonbeams – Jimmy Van Heusen
- Subsonic Glow – Misha Mullov-Abbado
- Just Squeeze Me (But Please Don’t Tease Me) – Duke Ellington
- Maxwell’s Silver Hammer – Paul McCartney
- Sunday’s Mudbath – James Davison & Misha Mullov-Abbado
- That’s A Plenty – Lew Pollack
- A Child Is Born – Thad Jones
