Pianist and neuroscientist Alan Ernst is an imaginative improviser who imbues his works with a poetic undercurrent. Saxophonist Jon Raskin, of the ROVA saxophone quartet, is one of the most innovative practitioners of creative music. Both are from Sacramento and have recorded for the charitable label Golden Lion Arts. It was inevitable that their paths would cross and so they did. The result is the stimulating Colorwheel, an intimate set of 14 duets each named after a paint pigment.
The introspective mood throughout reflects the muted nature of these tints. “Nattier”, for instance, is melancholic with Ernst’s block chords resonating against Raskin’s musing alto. There are hints of western classical influences particularly in Ernst’s contemplative pianism. Raskin’s bluesy alto wails with reserved passion. Even though there is a captivating lyricism to the repartee, it does embrace a bit of dissonance before the somber ending.
The pieces elegantly meld into one another giving the release one of its unifying elements, the sublime camaraderie between the two musicians being another. The whimsical “Sorrel” features an energetic exchange of short bars and refrains. Like a playful horse of the same color, the simultaneous and complementary solos rise and fall in angular patterns all the while maintaining the mellifluous nature of the tune. Seamlessly, the pair moves on to “Titian”, continuing the dynamic conversation that grows both fierier and more fluid. It maintains the fervor of the previous track but is smoother and more pensive.
The haunting closer, “Gamboge”, has a nocturnesque ambience and a sound that is significantly more “mainstream” than is expected from Raskin. This does not signify that it lacks inventiveness or, for that matter, spontaneity. Indeed, the dulcet melody and the shimmering chords create a sublime work of unfettered expressiveness that is an apt conclusion to this multilayered and captivating collaboration.
Colorwheel is a moving and provocative album that makes for a rewarding listening experience. It also is a much needed addition to Ernst’s scant discography and a demonstration of Raskin’s versatility. Above all it is a recording that will surely stand the test of time.
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