By Don Phipps
Looking at the landscape of modern jazz, one marvels at the abundance of musicians who not only perform spontaneously at a high level, but who write the kind of compositions found on Adam O’Farrill’s double album For These Streets . O’Farrill creates an ethereal and fascinating work or art that blends dreamy landscapes, holographic voicings, and poetic abstractions.
The magic of this album, though, cannot be solely ascribed to O’Farrill’s tunes or top-notch playing. Of near equal importance was his choice of bandmates, many of whom are artists of the highest caliber. This group consists of Mary Halvorson (guitar), Patricia Brennan (vibraphone), David Leon (alto saxophone and flute), Kevin Sun (tenor saxophone and clarinet), Kalun Leung (trombone and euphonium), Tyrone Allen II (double bass) and Tomas Fujiwara (drums). Is it any wonder why a collaboration of such talent might produce such incredible music?
There are two masterpieces – the “Speeding Blots of Ink” and “Late June.” Both approach the 10-minute mark in length, but what an exquisite 10 minutes! “Blots” opens with a syncopated and alternating trombone, trumpet, and bass. As the music develops, the musicians carve out a distinct space. For example, Fujiwara enters with light tapping on the snare, Halvorson starts up with rolling chords and progresses with rapid abstract fingerings above Brennan’s dissonant retorts. And, as on “Swimmers,” O’Farrill creates trumpet arcs that slide along high notes as if pirouetting on ice. The number evolves until every corner is filled with sound. As “Blots” concludes, there’s a sense of awe - like looking up at the night sky – marveling at the stars and their billion-year-old twinkles.
“Late June” offers warm abstract voicings chock full of intricate interplay. The piece highlights Halvorson’s gentle guitar plucks, Brennan’s vibraphone caresses, Fujiwara’s subtle cymbal play, and Allen’s rapid bowing and down low bass solo. As the number progresses, Leon and Sun’s saxes play off against O’Farrill’s trumpet, and Leung joins on trombone with a staggered line that blends perfectly with the sweet dissonant chorus of brass and saxes. Sun’s sensual sax solo sounds like a sunny day at the beach. And Halvorson’s twangy picks towards the end generate a crazy diamond shine (apologies to Pink Floyd).
While all the artists deserve applause, fans of Halvorson and Brennan should simply not pass up this chance to hear their contributions. Halvorson adopts a balalaika style on “And So On,” brings a little Narciso Yepes flamenco flurry behind O’Farrill’s sweet solo on “Streets,” and generates heat with her plucks and chords on “Blots.” Brennan’s solo and pedal work on the short “The Break Had Not Yet Come” is exquisite. Listen to how she takes over on “Migration.” And her playful back and forth with Halvorson and Allen above Fujiwara’s all over drumming on “Swimmers” and the aforementioned “Break,” and with flautist Leon on “Nocturno, 1932,” reveal a dreamy and impressionistic side to her playing – helped along by her delightful use of the pedal. And when Halvorson and Brennan join forces, for example, towards the end of “Migration,” or on “Late June,” there’s magic in the air.
One feels, with every tune, every phrase and every solo, the nuanced guidance of O’Farrill. This is his creation, and his masterful contributions and trumpet/flugelhorn explorations offer up a memorable experience. This is his world, a world that the listener can enjoy again and again. Highly recommended!
0 comments:
Post a Comment