CHES SMITH - Interpret It Well
Pyroclastic Records CD PR19
Ches Smith: vibraphone, drums; Bill Frisell: guitar; Mat Maneri: viola; Craig Taborn: piano
Recorded October 12 and 13, 2020 at Oktaven Audio, Mount Vernon, New York, USA
This is an album of abstracted music which confirms one’s frequent incognisance of the root of some of the elements of much contemporary music – is it composed or is it freely created? The musicians are the trio which created Ches Smith’s 2016 ECM release The Bell, with the addition of the pervasive intrusions of the great guitarist, Bill Frisell. The music starts off quietly and without indulgence. It is there, but you might not notice it. Like a valley shrouded in mist, then revealed by the warming sun when it becomes appealing, spellbinding.
One of the key elements in the minimalist patterns that develop in each piece is Smith’s composing of his groundwork and the spaces he leaves for interpolations by his company to further explore and to create as they will. Surprises might ensue!
One such surprise I found was in Track 5, Clear Major, a piece which I felt was an example of the whole set. It is dynamic, thriving on a pulsing lucidity which is built into itself. Equally wildly dissonant or bemusedly tranquil, it overreaches itself then returns to its former state, when we discover that it is not at all the same.
The whole suite opens and closes with short pieces. The much longer title track opens with delicate vibes, drawn together by leisurely bowing from the viola. Frisell comes in with blue notes and clipped tinges from the piano demand that the drums rise to embellish the cacophony.
The longest track in the set is Mixed Metaphor. Restful soundscapes are introduced and described by Frisell’s solo guitar. There is a variation to the propulsive rhythm in the background which bolsters the efforts of viola and piano. Overall, towards the close, there are the effects of electronica, rock and Avant-jazz.
Throughout this recording, the four musicians have enshrined the principle which has given us the title of the album: Interpret It Well and for this we should be grateful.
Reviewed by Ken Cheetham
Pyroclastic Records CD PR19
Ches Smith: vibraphone, drums; Bill Frisell: guitar; Mat Maneri: viola; Craig Taborn: piano
Recorded October 12 and 13, 2020 at Oktaven Audio, Mount Vernon, New York, USA
This is an album of abstracted music which confirms one’s frequent incognisance of the root of some of the elements of much contemporary music – is it composed or is it freely created? The musicians are the trio which created Ches Smith’s 2016 ECM release The Bell, with the addition of the pervasive intrusions of the great guitarist, Bill Frisell. The music starts off quietly and without indulgence. It is there, but you might not notice it. Like a valley shrouded in mist, then revealed by the warming sun when it becomes appealing, spellbinding.
One of the key elements in the minimalist patterns that develop in each piece is Smith’s composing of his groundwork and the spaces he leaves for interpolations by his company to further explore and to create as they will. Surprises might ensue!
One such surprise I found was in Track 5, Clear Major, a piece which I felt was an example of the whole set. It is dynamic, thriving on a pulsing lucidity which is built into itself. Equally wildly dissonant or bemusedly tranquil, it overreaches itself then returns to its former state, when we discover that it is not at all the same.
The whole suite opens and closes with short pieces. The much longer title track opens with delicate vibes, drawn together by leisurely bowing from the viola. Frisell comes in with blue notes and clipped tinges from the piano demand that the drums rise to embellish the cacophony.
The longest track in the set is Mixed Metaphor. Restful soundscapes are introduced and described by Frisell’s solo guitar. There is a variation to the propulsive rhythm in the background which bolsters the efforts of viola and piano. Overall, towards the close, there are the effects of electronica, rock and Avant-jazz.
Throughout this recording, the four musicians have enshrined the principle which has given us the title of the album: Interpret It Well and for this we should be grateful.
Reviewed by Ken Cheetham
