Bill Frisell/Thomas Morgan: Epistrophy (ECM 2626)


Bill Frisell/Thomas Morgan

Bill Frisell guitar
Thomas Morgan double bass
Recorded live at the Village Vanguard, New York, March 2016
Engineers: James A. Farber and Paul Zinman
Assistant engineers: Own Mulholland and Jim Mattingly, SoundByte Productions Inc., New York
Mixing at Avatar Studios, New York, December 2016: James A. Farber, Manfred Eicher, Bill Frisell, and Thomas Morgan
Produced by Manfred Eicher
Release date: April 12, 2019

Recorded live at The Village Vanguard in March 2016, Epistrophy continues where the conversation between guitarist Bill Frisell and bassist Thomas Morgan left off on Small Town. In the hands of this duo, a song like “All In Fun” assumes a double meaning. While the pair indeed are enjoying this musical experience, they bring an unforced profundity to the occasion. This tune in particular has what only can be described as a dark buoyancy, a feeling of bobbing along evening waters.

A nod to the folk song “Wildwood Flower” introduces “Save The Last Dance For Me,” which in this context takes on a magical realism. Liberated from their popular associations, tensions emerge in melodic symmetry. Played as lovingly as one could imagine, Paul Motian’s “Mumbo Jumbo” finds Frisell tastefully augmenting Morgan’s psychosomatic filter. The James Bond theme “You Only Live Twice” also gets a heartfelt makeover, its machismo now a quieter drama. And Billy Strayhorn’s “Lush Life” emerges from a series of still images, each further detailing the narrative. The title track and “Pannonica,” both from the Thelonioius Monk songbook, are the set’s core, each a reflection of the other: The former’s sprightly charm and linear paths pair beautifully with the latter’s eddying contemplations. The traditional “Red River Valley” is another key passage of synergy that seems tailor-made for these musicians. Like the Frank Sinatra hit “In The Wee Small Hours Of The Morning” that closes, it activates what is tru- est and purest within them, and in us for being privy to their dialogue.

(This article originally appeared in the June 2019 issue of DownBeat.)

Special Announcement

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I am humbled and pleased to announce that my book on ECM is finally coming out this week. Between Sound and Space: An ECM Records Primer is to be published by Rey+Naranjo in a first edition available only to the South American market, then as a global edition early next year (preorders will be available soon).

I have been graciously invited to present two talks at the Bogotá International Book Fair. My first talk will be “ECM Records: Listen, Watch and Remain Silent,” to be given this Sunday, April 28. The second will be “The Collector as Historian,” to be given on April 30th. Please attend and introduce yourself if you’re in the Bogotá area!

More to follow.

Ralph Alessi: Imaginary Friends (ECM 2629)

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Ralph Alessi
Imaginary Friends

Ralph Alessi trumpet
Ravi Coltrane tenor saxophone, sopranino
Andy Milne piano
Drew Gress double bass
Mark Ferber drums
Recorded May 2018, Studios La Buissonne, Pernes-les-Fontaines
Engineer: Nicolas Baillard
Produced by Manfred Eicher
Release date: February 1, 2019

Imaginary Friends marks an ECM threepeat for trumpeter Ralph Alessi. His connectivity with Ravi Coltrane (mostly on tenor saxophone), pianist Andy Milne, bassist Drew Gress and drummer Mark Ferber glows throughout nine originals, of which “Iram Issela” is the heartfelt introduction. Dedicated to Alessi’s daughter (the title is her name spelled backward), it meshes trumpet and piano without a hint of coercion. Coltrane lays low, letting the waves carry him where they will. Alessi’s friendship with him, going back to their student days at the California Institute of the Arts, resonates, as well as in the title track and “Oxide,” one of Alessi’s most exquisite compositions.

Their horns seem to have minds of their own. As free to roam as they are to harmonize, either can take the helm at any given moment, leading to exciting listening. Reflective turns like “Pittance” are all about the trumpet’s emotive powers while “Improper Authorities” allows Coltrane enough room to pave a highway over the rhythm section’s solid roadbed. “Melee” is another compositional masterstroke, which recalls the jigsaw approach of labelmate Tim Berne yet takes on fresh distinction by dint of a calligraphic sopranino. All of this and more funnel into “Good Boy,” a tender quietus.

Most impressive is the relentless spirit of invention. With an average track length of about seven minutes, each tune is a feast for the ears. Indeed, there’s something downright edible about this session, scrumptious from first bite to last and in that proverbial sense dishes out one of the most savory records of the year so far.

(This review originally appeared in the April 2019 issue of The New York City Jazz Record, a full PDF of which is available here.)

Joshua Redman Quartet: Come What May

Come What May

Come What May is the third round for saxophonist Joshua Redman, pianist Aaron Goldberg, bassist Reuben Rogers and drummer Gregory Hutchinson. Like its predecessors, the album presents a spectrum of tunes, working at an even deeper level of maturity. Given that their last studio effort was recorded in 2000, it makes sense that the band should have taken a giant leap in intuition, but such a process is easier said than done and more than a mere consequence of sharing the road and the stage together.

Although varicolored from a thematic standpoint, these seven Redman originals partake of a binding confidence reflective of a conscious willingness to treat medium as message. The title cut and its follower, “How We Do,” are the front and back of the band’s aural business card. In both, Redman and Rogers define and unravel a genuine compositional voice, which resonates through the bandleader’s willingness to explore every idea to its logical end. Goldberg and Hutchinson, for their part, shine in the power walk that is “I’ll Go Mine,” crossing every ‘t’ without a hint of intrusion. These four musicians, whether at their quietest (“Vast”) or most forthright (“Stagger Bear”), would need to expend unfathomable effort not to let their two-plus decades of camaraderie show through. Indeed, “DGAF” sounds like a bunch of old friends finishing each other’s sentences.

That same spirit is reflected in the engineering, which allows every instrument to occupy its own space. While at first this effect feels jarring (there is none of that sense of movement through space only a live experience can articulate), it ultimately leaves it up to the quartet to bridge the gaps between them. The end result is best described as a laid-back adventure, one that is smooth yet grounded enough to withstand the force of expectation.

(This review originally appeared in the April 2019 issue of The New York City Jazz Record, a full PDF of which is available here.)

Valentin Silvestrov: Hieroglyphen der Nacht (ECM New Series 2389)

Hieroglyphen der Nacht

Valentin Silvestrov
Hieroglyphen der Nacht

Anja Lechner violoncello, tam-tam
Agnès Vesterman violoncello
Recorded December 2013, Auditorio Stelio Molo RSI, Lugano
Engineer: Peter Laenger
Produced by Manfred Eicher
Release date: September 22, 2017

Hieroglyphs are visual music. They imply movement, tell stories, and reflect human and spiritual connections. In the hands of composer Valentin Silvestrov, standard notation becomes a hieroglyphic language unto itself. Throughout the sequence of this program, most of it penned in the present century, language fills spaces in absence of utterances. Each composition is a planet orbiting an unspoken sun, thus illustrating the richness of silence as a resonant, vibrational constant. In the same way that zero gravity isn’t the absence of gravity but equal attraction from all directions simultaneously, silence acts upon chamber instruments until their voices emerge as one. The Drei Stücke for two cellos (2002/09) that open the program are proof of that very concept. Two bows move like arms attached to the same body, trailing lines of communication in sand: powerful in meaning yet susceptible to the tide. This dynamic resurfaces in the Serenaden (2002), also for two cellos, which return the evening sky after a day’s borrowing, threading stars like beads on a necklace, while the Lacrimosa for solo cello (2004) pulls them off one by one until their light becomes individual again.

Elegie for solo cello and two tam-tams (1999) treats air as writing surface, exploring layers of impermanence against the idealism of capture. In the first two parts of this tripartite composition, the cello tracks movements of branches with the naked ear, and in the third introduces the metallic breath of struck tam-tams. In this context, the relationship between contact and decay is somehow reversed, so that beginnings prune their wings with conclusive beaks. Lechner thus splits voices in unifying them, yet achieves the reverse in Augenblicke der Stille und Traurigkeit (2003), trading arco and pizzicato dialects with the ease of inhaling and exhaling.

8.VI.1810…zum Geburtstag R. A. Schumann for two cellos (2004) realizes the composer’s goal for a “cello four-hands,” expanding the instrument’s possibilities by turning it inward. A feeling of euphoria locks flesh with shadows. Dances flit by like opportunities for melodic escape, while their after-images seek reciprocation in the listening. Lechner and Vesterman accordingly hang their spirits on easels and mark them with every brushstroke of the bow. Although not sequential, the companion piece 25.X.1893…zum Andenken an P. I. Tschaikowskij (2004) folds twilit landscapes into lyrical dough, kneading the earth until it no longer sticks to the hands.

All of which funnels into the harmonic vessel of Walzer der Alpenglöckchen for solo cello (2004), in which the clicks of stick on string open mountainous doors, behind which smolder long-forgotten hearths, aglow with the possibility of slumber. And yet, while the album may feel like a dream, it’s no more susceptible to the blade of waking up than the nameless figure wielding it.

Guidi/Petrella/Sclavis/Cleaver: Ida Lupino (ECM 2462)

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Ida Lupino

Giovanni Guidi piano
Gianluca Petrella trombone
Louis Sclavis clarinet, bass clarinet
Gerald Cleaver drums
Recorded February 2015, Auditorio Stelio Molo RSI, Lugano
Engineer: Stefano Amerio
Produced by Manfred Eicher
Release date: September 2, 2016

Since making his ECM leader debut with 2013’s City of Broken Dreams, Italian pianist Giovanni Guidi has paved a new path with every release. For Ida Lupino, he convenes Enrico Rava bandmate and virtuoso trombone player Gianluca Petrella, clarinetist Louis Sclavis, and drummer Gerald Cleaver for a set built almost entirely on improvisation. Two exceptions are the album’s eponymous tune by Carla Bley, which here receives an ode-like treatment in celebration of its composer’s 80th birthday, and “Per I Morti Di Reggio Emilia,” a song written by Fausto Amodei in memory of demonstrators who fell victim to police violence on July 7, 1960. The latter’s guttural trombone and persistent cymbals rekindle those political fires as warmth against the frigid climate in which we now find ourselves.

At the heart of this session are Guidi and Petrella, who among the quartet share the longest working relationship. Their spotlight shines brightest in “Gato!” This nearly 10-minute narrative reveals itself one sentence at a time, toeing a line drawn by cymbals with dialogic abandon, before ending in a lullaby of piano. This same combination begins the album in “What We Talk About When We Talk About Love” and ends it in the tactile stumble of “The Gam Scorpions.” Notable for its subtle shadings is “Hard Walk,” throughout which Petrella focuses on breathing over notecraft as primary method of communication. He and Guidi row their most fascinating waters, however, in “Fidel Slow” and “Zweig.” These distinctly three-dimensional duets write their own dictionary as they go.

Sclavis’s reed work, as always, abounds with invention. Whether roaming the desert of “Just Tell Me Who It Was” with plenty of groovy water to spare or exchanging bon mots with Petrella in the witty “Jeronimo,” he treats virtuosity like breathing. Further highlights include the fibrillated “No More Calypso?” and “Things We Never Planned.” The latter might as well have been the title track, showcasing as it does the band’s willingness to go wherever the music leads. Guided by intuition alone, they make no effort to understand anything but the moment, eschewing concrete rhythms for liquid assets.

An altogether worthwhile peek into minds that always seem to be expanding into the next motif before the current one is finished.

Mats Eilertsen: And Then Comes The Night (ECM 2619)

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Mats Eilertsen
And Then Comes The Night

Harmen Fraanje piano
Mats Eilertsen double bass
Thomas Strønen drums
Recorded May 2018, Auditorio Stelio Molo RSI, Lugano
Engineer: Stefano Amerio
Produced by Manfred Eicher
Release date: February 1, 2019

A feeling of transcendence occurs the moment Harmen Fraanje’s pianism wraps its arms around you in “22,” the introduction to bassist Mats Eilertsen’s And Then Comes The Night. And as the brushes of drummer Thomas Strønen complete the triangle, you find yourself being ushered through a portal unlike any other to a space where harmony whispers between every air molecule. That this tune—one of Eilertsen’s—also closes the album in variation is testament to the circularity of life, the very dust from which melodies arise and to which they must return.

The spontaneous creations of “Perpetum” and “Then Comes The Night” yield the most intimate moments of the session. Whether in the former’s subterranean percussion and arco bassing or the latter’s angular pianism, passion exudes from the pores of this music’s skin. This is by no stretch of the imagination a group in search of a groove or means to convey it, but rather, as in the Fraanje-penned “Albatross” and “Soften,” concerns itself with memories in the making. The piano/bass duets of “After The Rain” and “Solace” underscore the necessity of climate in their evocation of wind and stillness. In both, comfort is achieved by virtue of awareness alone. This is playing that relies on faith to shield its feet from burning sands and frozen tundra alike.

In Eilertsen’s own “Sirens” and “The Void,” mosaics dissolve into watercolor and vice versa. Each is a window into the other, flush to the touch yet visually dimorphous in contrast, and the second in particular cradles the most nocturnal of bass solos.

Although this album represents a decade of R&D in the trio’s laboratory, and follows two appearances on the Hubro label, you might just feel a genesis at play, reaching tendril after tendril from darkness into light, until galaxies are drawn together into one amorphous whole, spinning quietly if for no other reason than to hear itself sing.