Gianluigi Trovesi/Gianni Coscia: La misteriosa musica della Regina Loana (ECM 2652)

La misteriosa musica della Regina Loana.jpg

Gianluigi Trovesi
Gianni Coscia
La misteriosa musical della Regina Loana

Gianluigi Trovesi piccolo and alto clarinets
Gianni Coscia accordion
Recorded January 2018, Night And Day Studio, Cascinagrossa
Engineer: Paolo Facco
Mixed and mastered by Guido Gorna and Stefano Amerio
An ECM Production
Release date: June 21, 2019

Umberto Eco (1932-2016) once said of Gianluigi Trovesi and Gianni Coscia, “On a street corner or in a concert hall, they would feel at home just the same.” For their fourth ECM installment, the clarinetist and accordionist prove that statement in a tribute to their departed friend, taking listeners on a sonic journey through Eco’s semi-autobiographical novel La misteriosa fiamma della regina Loana (The Mysterious Flame of Queen Loana). Along the way, they riffle through the archives of a bygone era and recreate it with loving attention to detail and personal association. Most of the songs are mentioned in the novel itself, the centerpiece being the five-part “EIAR.” Titled in homage to Italy’s first radio station, the suite drips with nostalgia of the 1930s and 40s.

Despite being of literary genesis, the album carries a tender cinematic charge, evident already in Coscia’s opening solo “Interludio.” More overt connections to the silver screen abound on “As Time Goes By,” from Casablanca, which spreads across the ears like butter over warm bread, and the mysterious yet emotionally transparent “Bel Ami,” from the 1939 German film of the same name. Other perennial favorites, such as “Basin Street Blues” and Glenn Miller’s “Moonlight Serenade,” evoke pure delight yet are infused with enough beauty to court the glint of a tear.

Three originals called “Nebjana” take their inspiration from Leoš Janáček’s In the Mists, while “Umberto” and “Eco” are improvised around Trovesi’s gematria of the honored name. Their masterstroke comes in the form of “Gragnola” (Hail of Bullets). Moving from tragedy to triumph, it’s a film in and of itself, casting in its leading role the unabashed love that defines a grander story.

(This article originally appeared, in truncated form, in the December 2019 issue of DownBeat magazine.)

Jazz at Lincoln Center: ECM Records at 50

ECM Records at 50

On November 1 & 2, 2019, Jazz at Lincoln Center will present two nights in celebration of ECM’s 50th anniversary. The lineup will be the same on both nights. I will be there to review the November 2 show for All About Jazz.

The roster is as follows:

Tenor Saxophone Ravi Coltrane, Joe Lovano, Mark Turner
Trumpet Ralph Alessi, Avishai Cohen, Enrico Rava, Wadada Leo Smith
Guitar Bill Frisell
Guitar and Piano Egberto Gismonti
Piano Fabian Almazan, Nik Bärtsch, Marilyn Crispell, Giovanni Guidi, Ethan Iverson, Vijay Iyer, Shai Maestro, Andy Milne, Craig Taborn
Piano and Voice Meredith Monk
Cello Anja Lechner
Bass Dezron Douglas, Matthew Garrison, Larry Grenadier, Drew Gress, Thomas Morgan, Barak Mori
Drums Carmen Castaldi, Andrew Cyrille, Jack DeJohnette, Mark Ferber, Ziv Ravitz, Nasheet Waits

Tickets are available here. Hope to see some of you there!

Steve Kuhn Trio: To And From The Heart

To And From The Heart.jpg

To And From The Heart, the latest on Sunnyside Records from pianist Steve Kuhn’s trio with electric bassist Steve Swallow and drummer Joey Baron, is a walking tour of dreams. By its guidance, we are led through one scene after another, each a step out of time. Two of the most fully rendered among them are by Swallow. “Thinking Out Loud” unfurls the set’s welcome mat into a sound so warm and inviting it feels like we’ve just stepped into an intimate jazz club. That the trio has a long performing history to its credit only adds to the live atmosphere. Such comfort as that expressed here can only come with age and experience.

In both this understated groove and “Away,” a bright and easygoing swing, Swallow’s solos are natural extensions of his comping and vice versa. Kuhn likewise stirs his own compositional palette with the concluding medley of “Trance/Oceans in the Sky.” From a sailing piano intro, it navigates rolling waves to dock on shore, where Swallow leads a long walk inland to Baron’s spotlight monologue, wherein he compresses an entire landscape into its first blade of grass. Along the way, into their joyous circle the trio welcomes Michika Fukumori’s “Into the New World,” a sunlit field dotted with Kuhn’s expository footprints while also throwing in a couple of standards—not only for good measure, but also to measure the good. Where Leslie Bricusse/Anthony Newley’s “Pure Imagination” balances elegance and humility, as epitomized by Baron’s scintillations and Swallow’s robust detailing, Jay Livingston/Ray Evans’ “Never Let Me Go” shows Kuhn to be one who understands that melodies aren’t made to be broken but stretched until one can see through them. When music is this good, this nostalgic yet forward-thinking, it can only be a matter of fate.

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

The Art Ensemble of Chicago and Associated Ensembles (ECM 2630)

AEC Boxed Set

The Art Ensemble of Chicago and Associated Ensembles
Recorded 1978-2015

As the peoples of the Earth move into the
21st century, where hi-tech moves them deeper
and deeper into realms of the unknown, visions
of the ancient chime and bell remind us of
the lyrical power that remains at the heart
of mankind’s quest for fulfillment.

–Joseph Jarman

If ever there was a boxed edition that needs your attention, it’s The Art Enemble of Chicago and Associated Ensembles. If ever there was a boxed set that doesn’t need your attention, it’s also The Art Enemble of Chicago and Associated Ensembles, because the music it contains exists on a level so far beyond us that the very universe is already listening to it in infinite regression. What we have in this 21-disc treasure trove is something as metaphysical as it is satisfying in the hands: a legacy made wieldable in crisp lines of typography and cardboard.

ECM Records and the Art Ensemble of Chicago were both founded in 1969, and so it seems inevitable that their kinship should extend beyond numerological coincidence into the realm of audio. In the words of multi-reedist and founding member Roscoe Mitchell, “It has been amazing to have taken this journey together,” and make no mistake: This journey can be savored however one wishes to approach it, inserting life experiences into the music’s nooks and crannies, just as the music leaves its traces in those experiences in return.

The recordings gathered here span from 1978 to 2015, and are accompanied by a 300-page book that contains all of the original album materials along with newly unarchived photographs, paratexts, and essays written specifically for the occasion. In a preface by Manfred Eicher, ECM’s founder and lead producer speaks of his first encounters with this “polystylistic” collective as both sonically and visually unforgettable experiences. Having wanted to record them for some time, it wasn’t until 1978 when, in a six-month flurry of activity, he recorded the AEC’s Nice Guys, Jack DeJohnette’s New Directions, and Wadada Leo Smith’s Divine Love, all of which revolved around the genius of trumpeter Lester Bowie. Vijay Iyer describes in a liner note the “disruptive vocality” of Bowie’s trumpet as “discursive, declamatory, mischievous, and yet welcoming, as though he were somehow speaking to and for everyone.” As such, it marks this collection’s topography with the itinerant precision of a cartographer whose only dream is to show and never tell.

Producer Steve Lake, in a heartfelt tribute of his own to this roving constellation, calls Bowie and Mitchell “two of the most strikingly individual players in creative music of the post-Coltrane era.” To make good on that statement, one could spin this set like a globe and land a finger anywhere. Lake discusses the significance of the Association for the Advancement of Creative Musicians, and of what began as the Roscoe Mitchell Art Ensemble (with Bowie, reedman Joseph Jarman, and bassist Malachi Favors) in particular to reveal its compositional acuity and vivid individualism. As the first AACM project to sink its teeth into Europe (by that time acquiring percussionist Don Moye), the AEC had a lot to say. As Lake so delectably puts it: “On any given night, a set’s components might include gong-splashed ancestral meditations and go-for-broke collective improvising, throbbing drum choirs, parodic parade marches, fiery post-bop, vertiginous silences, classical paraphrases, prayer meeting invocations, hints of Chicago blues and country blues and old timey folk song, down-home funk and radical urban sound-collage with impatient bike horns and sirens, all underlining the ‘ancient to the future’ claim which mighty bassist Malachi Favors, in a moment of inspiration, had appended to the Great Black Music slogan.” All the while, labels were trying to capture the uncapturable, but it wasn’t until ECM came along that the AEC’s sonic panorama could be set free.

Nice Guys, being the ECM debut of the AEC, is lacquered in legend. A Rolling Stone Guide capsule review describes it as follows: “A Miles Davis tribute, a hint of reggae, percussion labyrinths, formidable saxophone solos and incredibly sensitive group dynamics are some of the ingredients that make Nice Guys essential.” The keywords are “some” and “essential.” The first because the album is a mélange of old influences and new creations alike; the second because no one who appreciates jazz as a living history should be without this watershed record. In Moye’s words, “In the ancient tradition of art and black music, a musical presentation was not just about music. It was about all the different elements of life.” Indeed, what the AEC achieves, whether in the studio or on stage, is nothing short of life itself. As pianist Craig Taborn, heard as part of Mitchell’s Bells for the South Side, likewise says of Nice Guys: “The melodies moved through actual environments that seemed palpable and teeming with life and energy.”

While Nice Guys is certainly a keystone in the AEC’s discography, I cradle it as a compass through some personal favorites. Highest among those is Full Force, a ball of fire and ice wrapped in one engaging package. From the ephemeral to the everlasting, its moods span the gamut of human experience and etch the soul with its contrasts. Without hesitation, I would direct any and all newcomers to this album as a point of initiation. Another immutable entry into this canon is Smith’s Divine Love, which matches the trumpeter’s depth and breadth with a formidable lineup that includes Bowie, trumpeter Kenny Wheeler, and bassist Charlie Haden. There is a muted quality to this album—both literally and figuratively—that hints at veils beyond veils to the emotional vibrations beyond them still. It is music as language, turned inward until it binds itself as a book of heartbeats.

A hop and skip bring us to Bowie’s All The Magic!, which blends tributes and the tribute-worthy, culminating in a fascinating solo session that approaches resonance and whimsy with equal sanctity. Peter Kemper characterizes this unusual album as a space in which “[c]areful movements must be made, with small steps forward and a watchful eye to the rear. The investigation of the path being taken appears more important than the goal at the end of the path.” In light of this apt description, and because Bowie is such a primary force, I bow to the dedicatory charisma of the AEC’s Tribute to Lester, which unfurls from every strike of the gong a spirit of undying breath.

Among the Mitchell outings included, I would uphold Composition/Improvisation Nos. 1, 2 & 3 as a vivid example of what he is capable of in his element. Like a strand of DNA broken and regrown into a widening family, every note births another by grand experimental design. That Mitchell makes it all sound so intuitive is testament to his ability to reign forces as a precondition for liberating them.

The self-titled effort from DeJohnette’s New Directions receives a welcome reissue among these other gems. Featuring guitarist John Abercrombie, drummer Eddie Gomez, and a perennial Bowie, it frames the trumpeter as lyrical griot and takes full advantage of the afforded space. All of this and more funnel into Made In Chicago, in which DeJohnette joins saxophonist Henry Threadgill, pianist Muhal Richard Abrams, bassist Larry Gray, and Mitchell. Jack DeJohnette was never part of the AACM proper, but his introduction of Abrams to Mitchell was the first sneeze in a creative avalanche unlike any other. Like old friends turning the same page, this live document rejoices in the very act of rejoicing and yields one of ECM’s most masterful turns in recent memory.

Music is, as Thomas Staudter phrases it, “the human experience in its full glory.” In the hands of the AEC, music means also a dance between the symbiosis of structure and freedom. In absence of said dance, we can make no truth claims about the AEC and its offshoots, for we are nothing more than the wind shaking the boughs of a tree whose fruit is forever ripe.

Tell of the rustling. Speak of horizons. Practice, practice the strength of beautiful telling from one generation to another so that the beautiful does not pass again into oblivion. Tell each other of life’s scenes. What was good shall be. Slow down to enjoy with the help of colors—and discover. See the greenness and hear the droning and transform your spontaneous sighs into a powerful song.
–Peter Handke, “Über die Dörfer” (“On Villages”)

AEC Boxed 3D

Below is a list of all 18 albums contained in this essential collection, linked to my full review of each. Keep in mind, however, that no matter how many words I and others have spilled in honor of this hallowed assembly and its tandem galaxies, there’s nothing so cosmically rewarding as opening your ears and letting these lightyears of creative spirit flow where they will.

ECM 1126 Art Ensemble of Chicago: Nice Guys (May 1978)
ECM 1167 Art Ensemble of Chicago: Full Force (January 1980)
ECM 1211/12 Art Ensemble of Chicago: Urban Bushmen (May 1980)
ECM 1273 Art Ensemble of Chicago: The Third Decade (June 1984)

ECM 1143 Leo Smith: Divine Love  (September 1978)

ECM 1209 Lester Bowie: The Great Pretender (June 1981)
ECM 1246/47 Lester Bowie: All The Magic! (June 1982)
ECM 1296 Lester Bowie’s Brass Fantasy: I Only Have Eyes for You (February 1985)
ECM 1326 Lester Bowie’s Brass Fantasy: Avant Pop (March 1986)

ECM 1808 Art Ensemble of Chicago: Tribute to Lester (September 2001)

ECM 1651 Roscoe Mitchell & The Note Factory: Nine To Get Ready (May 1997)
ECM 1872 Transatlantic Art Ensemble/Mitchell: Composition/Improvisation 1, 2 & 3 (September 2004)
ECM 1873 Transatlantic Art Ensemble/Parker: Boustrophedon (September 2004)
ECM 2087 Roscoe Mitchell & The Note Factory: Far Side (March 2007)
ECM 2494/95 Roscoe Mitchell: Bells for the South Side (September 2015)

ECM 1128 Jack DeJohnette’s New Directions (w/Lester Bowie): New Directions (June 1978)
ECM 1157 Jack DeJohnette’s New Directions (w/Lester Bowie): In Europe (June 1979)
ECM 2392 Jack DeJohnette (w/Roscoe Mitchell, Muhal Richard Abrams, Henry Threadgill): Made In Chicago (August 2013)

Larry Grenadier: The Gleaners (ECM 2560)

2560 X

Larry Grenadier
The Gleaners

Larry Grenadier double bass
Recorded December 2016, Avatar Studios, New York
Engineer: James A. Farber
Mixed February 2018 at Studios La Buissonne by Manfred Eicher, Larry Grenadier, and Gérard de Haro (engineer)
Mastering: Nicolas Baillard
Produced by Manfred Eicher
Release date: February 15, 2019

With The Gleaners, Larry Grenadier joins a line of double bass virtuosos—including Miroslav Vitous, Barre Phillips and Dave Holland—that have released a solitary program on ECM. What distinguishes his from those predecessors is as much a matter of musicality and energy as of tone and texture. For while the prospect of a solo bass recording may conjure images of hermetic ponderousness, Grenadier cuts against the grain of expectation with a vast cartography. In the three-dimensional plucking of “Pettiford,” as also in the arco beauties of “Oceanic” and “The Gleaner” that surround it, he walks the line between comping and melodizing with such ease that he seems to emerge with a new category in hand. In the evocative “Woebegone,” one of only two tracks to feature minimal overdubs, he combines those elements richly. Another highlight of his originals is “Vineland,” which tips its hat to Phillips.

Grenadier includes a smattering of lovingly chosen material by others. Chief among them is “Gone Like the Season Does.” Written by his wife, singer Rebecca Martin, it feels like watching a teardrop fall in slow motion. Also noteworthy are his fusion of John Coltrane’s “Compassion” with Paul Motian’s “The Owl of Cranston,” which is about as full a statement as one could imagine from the instrument, and a dramatic reimagining of George Gershwin’s “My Man’s Gone Now,” which begins with urgent bowing before settling into a lilt of robust, down-home pizzicato.

Rounding out this cabinet of curios are two bagatelles written for Grenadier by musical compatriot Wolfgang Muthspiel. The second of these is a thing of staggering beauty and points to The Gleaners as more than an album of bracing insight and invention, but one of the finest solo bass efforts ever produced.

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

Louis Sclavis: Characters on a Wall (ECM 2645)

2645 X

Louis Sclavis
Characters on a Wall

Louis Sclavis clarinet, bass clarinet
Benjamin Moussay piano
Sarah Murcia double bass
Christophe Lavergne drums
Recorded October 2018, Studios La Buissonne, Pernes-les-Fontaines
Engineer: Gérard de Haro
Mastering: Nicolas Baillard
Produced by Manfred Eicher
Release date: September 20, 2019

This 13th ECM leader date from Louis Sclavis takes its inspiration from pioneering urban artist Ernest Pignon-Ernest, with whom the reed virtuoso and composer has been friends since the early 1980s. Although similar in theory to Napoli’s Walls, the album could hardly be more different in practice. And while Sclavis isn’t usually one to compose with images in mind, for this project he did just that, referencing paintings on walls from as close to home as Paris to as far away from it as Palestine.

For this, Sclavis trusted the talents of pianist Benjamin Moussay, bassist Sara Murcia, and drummer Christophe Lavergne. Despite having played with Moussay for a decade and with Lavergne some years back, he first convened this particular quartet in the context of another project called “Loin dans les Terres” (Far Inland) in 2017. The present effort strikes me, for lack of a better word, as one of Sclavis’s “jazziest” to date, although Moussay gives it his own classical touch. Much of it feels balladic, elegiac, and nocturnal. As Sclavis tells me by email, “When I compose I don’t think ‘jazz,’ but try to find the best way to express my inspiration, so sometimes the world of classical music feels appropriate.”

The tune “L’heure Pasolini” blends these signatures and more into a savory mélange. Like a wall crumbling from neglect, bass clarinet, piano, and bass suggest the remnants of a border. Moussay is downright gorgeous, while Murcia digs deep but also flies when thermals reveal themselves. Between this shadowy piece and the concluding brightness of “Darwich dans la ville,” the situation of every image is taken into account. The piano intro of “La dame de Martigues” stirs a kindred heart before bass clarinet moves like a figure in sheer clothing. Sclavis notes his affinity for this low reed, which sounds more soulful than ever: “I’ve been playing bass clarinet since 1972. It’s my go-to instrument. More and more, it has become my natural voice, to the point where I can now say exactly what I feel through it.” That said, the standard clarinet in “Extases” yields some of his most alluring textures on record, singing with fortitude and emotional release. Just as visceral is Murcia’s bassing in the groovier “Prison.”

In consideration of its strong conceptual foundation, I wondered how the music changed on its way to the studio. “In concert,” Sclavis responds, “we played more compositions. The record, however, is a strong collaboration between us and [ECM producer] Manfred [Eicher]. He knows what we want and how to achieve it, and by his suggestion we kept only my original music of our repertoire.” The sole exception to that model is Moussay’s own “Shadows and Lines,” in which bass clarinet returns like a specter in stone-laden scenes. The band ramps up its energy, just as quickly devolving into a pianistic unraveling that leaves Sclavis to roam unbound by idiom. His improvisations showcase a master at work. Then again, technical flourish takes a back seat to emotional acuity, especially in two group improvisations that came out of Eicher’s suggestion. As Sclavis tells it, “I decided to call these ‘Esquisse’ [French for “sketch”], in the manner of Ernest preparing for a painting.” All of which leave the walls of our minds as listeners bare and primed to receive images of vivid imagination and political relevance.

Heinz Holliger/György Kurtág Zwiegespräche (ECM New Series 2665)

Zwiegespräche.jpg

Heinz Holliger
György Kurtág
Zwiegespräche

Heinz Holliger oboe, English horn, piano
Marie-Lise Schüpbach English horn, oboe
Sarah Wegener soprano
Enresto Molinari bass clarinet, contrabass clarinet
Philippe Jaccottet recitation
Recorded June 2018, Radiostudio DRS Zürich
Engineer: Andreas Werner
Philippe Jaccottet was recorded August 2017
in Grignan by Nicolas Baillard, Studios La Buissonne
Executive producer: Manfred Eicher
Release date: May 24, 2019

Swifts turn in the heights of the air;
higher still turn the invisible stars.
When day withdraws to the ends of the earth
their fires shine on a dark expanse of sand.
–Philippe Jaccottet

If it comes as no surprise that Heinz Holliger and György Kurtág, perennial names in the ECM New Series roster, studied composition under Sándor Veress (cf. ECM 1555), then neither should the inevitability of blending their artistry in one of the most seamless programs to grace the imprint in recent years. Holliger, for his part, found a kindred spirit in Kurtág from day one: “Every note he writes is essential; there is never an idea of small talk…of wanting to please somebody or an audience.” The overarching title Zwiegespräche (“dialogues”) accurately describes the music. For indeed, when their works are placed side by side, a distinctly conversational rapport grows. These dialogues, however, extend beyond the composers themselves and into realms of texts, other musicians, and spaces of interpretation, so that in the listener’s walk from one end to the other, it becomes difficult to tell where Holliger’s terrains end and Kurtág’s begin.

If both are melodic composers, a memorial heart distinguishes a significant portion of Kurtág’s output. Most poignant in that regard is his …Ein Brief aus der Ferne an Ursula (2014) for oboe solo. Written just days before the death of Holliger’s wife Ursula (see, e.g., Lieder ohne Worte), it’s a loving tribute that wants to dance but instead curls into itself. The follow-up …für Heinz… (2014) is scored for piano, left hand, thus symbolizing Ursula’s absence. Its dissonances rest in brief catharsis.

A brighter pairing finds itself represented in both composers’ settings of the same text by 17th-century mystic and poet Angelus Silesius. Dating from 2010, they feature soprano in the leading role. Where Holliger adds oboe, English horn, and bass clarinet, Kurtág pairs the voice with English horn only. Holliger’s version was written while in hospital, where he challenged himself to write a madrigal each day during his recovery. Kurtág’s likewise pulls on inner filaments of mortality.

A standout of the album is Holliger’s Berceuse pour M. (2015), performed on English horn by his pupil Marie-Lise Schüpbach. Like her teacher, Schüpbach displays immaculate breath control and a balance of light and shadow. Holliger’s interpretations of seven poems by Philippe Jaccottet are equally moving. Each is read by the poet himself, and the words, written beneath corresponding notes in the score, are matched by oboe and English horn in extractions of hidden messages. The piercing altissimo of “Dans l’étendue…” and vocal inflections of “Je marche…” are especially visceral. Even the programmatic touches of “Oiseaux” feel more than reactive: they are cocreators in an extra-linguistic process.

Back in Kurtág’s world, a sequence of dedicatory aphorisms unfurls. Of these, the most naked are those written for contrabass clarinet solo. Schatten makes delicate use of key clicks and barest breath, and Kroó György in memoriam, written for radio editor and music critic György Kroó, rarely transcends a whisper. At more than six minutes, the latter feels like a novel compared to the short stories that surround it. The Hommage à Elliott Carter (for English horn and contrabass clarinet) and In Nomine – all-ongherese (Damjanich emlékkö) for English horn solo are vibrantly noteworthy as well.

Holliger finishes with his solo oboe Sonate. Composed in 1956/57 and revised in 1999, it is recorded for the first time here, after 63 years of sitting on paper since he penned it for Veress’s composition class. In it we can hear Veress’s influence on the younger composer, if not also Holliger’s on the older. From the leaping Präludium to the virtuosic Finale, ponderance of nature outweighs the nature of ponderance, leaving us with nothing short of a masterpiece.

We live in a world of motion and distance.
The heart flies from tree to bird,
from bird to distant star,
from star to love; and love grows
in the quiet house, turning and working,
servant of thought, a lamp held in one hand.

Enrico Rava/Joe Lovano: Roma (ECM 2654)

Roma.jpg

Enrico Rava
Joe Lovano
Roma

Enrico Rava flugelhorn
Joe Lovano tenor saxophone, tarogato
Giovanni Guidi piano
Dezron Douglas double bass
Gerald Cleaver drums
Concert recording, November 10, 2018
Sala Sinopoli, Auditorium Parco della Musica, Rome
Engineer: Giampiero Armino
Editing: Manfred Eicher and Stefano Amerio (engineer)
Album produced by Manfred Eicher
Release date: September 6, 2019

Recorded at Rome’s Auditorium Parco della Musica during a pop-up tour in November 2018, this album preserves a formidable group led by Italian trumpeter Enrico Rava (heard on flugelhorn throughout) and American saxophonist Joe Lovano. Alongside pianist Gianni Guidi, bassist Dezron Douglas, and drummer Gerald Cleaver, they take us through a set of originals, classics, and original classics in the making.

Rava opens the set with two tunes of his own. The delicate swing of “Interiors” unfurls a scenic backdrop as the frontmen stretch firmament over fundament. It’s incredible to hear just how organically Rava and Lovano—each a master in his own right—avoid stepping on each other’s toes. The moment they occupy the same space, theirs feels like an inevitable collaboration. Like two shooting stars crossing in the night, they seem to be a once-in-a-generation coincidence, yet in the process yield an even brighter star that careens beyond the asteroid belt of expectation. Neither is foreign to the healing power of poetry. “Secrets” elicits a more itinerant sound with Rava as primary storyteller. Despite their titles, this and the opener are reveal their love of creation like a morning glory drenched in the rising sun. Cleaver reaps a gorgeous harvest of cymbals, adding splashes of color amid the monochrome, and through those actions works up a lather of protection against the march of time. Lovano, for his part, shows his ability to immerse himself in the ever-evolving soul of things.

“Fort Worth” initiates a Lovano-penned sequence with upbeat inflections, by which memories of the past and predictions of the future are adhered. Lovano is the winding spirit of the rhythm section’s uncanny swing. When he gives the floor to Rava, the warmth of the venue feels more palpable than ever. Guidi’s solo is particularly superb, unpacking two gifts for each one wrapped, and holds light in its hands. “Divine Timing” is a more free-wheeling vehicle for Cleaver, who primes the canvas for some unbridled color schemes. Douglas, meanwhile, understands the need to give as much space as he occupies.

The quintet ends with a powerful triptych, kicking off with Lovano’s “Drum Song,” which takes an anciently leaning bass solo as its seed and finds the composer on tarogato before morphing into John Coltrane’s “Spiritual,” of which Rava is the shining galaxy. All of this funnels into the dream of Guidi alone playing “Over The Rainbow” a nod to the cosmos to which we must all one day return.

Ethan Iverson Quartet with Tom Harrell: Common Practice (ECM 2643)

Common Practice.jpg

Ethan Iverson Quartet
with Tom Harrell
Common Practice

Tom Harrell trumpet
Ethan Iverson piano
Ben Street double bass
Eric McPherson drums
Recorded live in January 2017 at The Village Vanguard, NY
Recording engineers: Andreas K. Meyer, Geoff Countryman, and Tyler McDiarmid
Mixing: Andreas K. Meyer at Swan Studios, NYC
Mastering: Christoph Stickel
Executive producer: Manfred Eicher
Release date: September 20, 2019

From the first breaths of trumpeter Tom Harrell in George Gershwin’s “The Man I Love,” it’s clear that Common Practice will betray its title’s coy humility from start to finish. Though known as an improviser of far-reaching originality and fortitude, Harrell accepted the challenge of pianist Ethan Iverson to play it straight, casting off shackles of virtuosity in favor of something far deeper and more difficult to achieve: bare emotion. The result was a weeklong residency in 2017 at The Village Vanguard in New York City, where bassist Ben Street and drummer Eric McPherson joined for this heartfelt journey through the Great American Songbook and beyond.

Denzil Best’s “Wee” showcases an exuberant McPherson. Locking step with Street, he and the bassist form a dyad of forward drive that makes no attempt to hide its secrets because we’re too slow to catch up with them anyway. Iverson is on fire but dances enough to avoid getting burned. Says the bandleader of his rhythm section: “None of us is approaching straight-ahead jazz like we want it to sound like 1955 or 1945 or 1965. We’re playing in the 21st century. But what I hope gives it depth is a commitment to the tradition, and when it comes to Ben and Eric, it’s about esoteric aspects of that tradition, nothing academic.” True to concept, whether in Vernon Duke’s balladic “I Can’t Get Started” or the band’s smile-inducing take on “Sentimental Journey,” fresh synapses of intuition coil themselves into being at every turn. The latter tune’s microtonal harmonies stay crunchy even in the milk of expectation. “I Remember You” gets an equally whimsical facelift, sporting attractive glissandi from Street and Harrell’s allusive brilliance to boot, while “I’m Getting Sentimental Over You” and other gems train one eye on the future, another on the past, and an invisible third on the here and now.

Two Iverson originals put the final pieces into this tantalizing puzzle. Of these, the bluesy “Philadelphia Creamer” cycles through its motifs as if they were a renewable energy source, while Harrell moves lithely through the changes like hard-won philosophy incarnate. Iverson himself digs deep into the keyboard, while McPherson gives us classic cymbalism throughout.

As fresh as the performances are, to say there’s no nostalgia within them is like saying there’s no paint in a Picasso. To be sure, they channel modern blood, but the veins are as aged as they come, tempered by experience and primed for transfusion.