CHRIS POTTER - The Dreamer Is The Dream
ECM CD: 5740661 / LP: 574 1473
Chris Potter: tenor/soprano saxophones, bass clarinet, clarinet, flute, ilimba, samples; David Virelles: piano, celeste; Joe Martin: double-bass; Marcus Gilmore: drums, percussion
Recorded June 2016
Saxophonist Chris Potter, since his debut in the early nineties with trumpeter Red Rodney, has added continued dimensions with his playing and shown his versatility over the years by participating in the bands of Dave Holland, Steely Dan and the Pat Metheny Unity Group. Albums such as “Unspoken” (Concord, 1997) “Follow The Red Line: Live At The Village Vanguard” (Sunnyside, 2007) have been uncompromising modern jazz and have staked his claim in arguably being the most influential saxophonist in jazz since the late Michael Brecker. So many saxophonists in jazz today, including Seamus Blake, and Donny McCaslin as well as many on local scenes have bore Potter’s influence, and his third disc for ECM with his quartet, “The Dreamer Is The Dream”, scales back a bit from the larger scope “Imaginary Cities” (ECM, 2015) but not at the expense of complex, thought provoking music.
Manfred Eicher’s investment over the past several years documenting some of New York’s finest musicians like legendary drummer Billy Hart, and pianist Aaron Parks has added a layer of intensity to the ECM catalog a bit different from the sound of it’s European projects but perfectly meshing his spacious, evocative cinematic quality, with the take no prisoners style of New York jazz. This quality is amplified by Potter’s outstanding quartet featuring pianist David Virelles, bassist Joe Martin and the phenomenal Marcus Gilmore on drums. Each group member on a set of six Potter originals gets to shine equally bright in inspired ways. The ballads in particular, sensuous and sinewy are highlights. “Heart And Hand” builds upon a a yearning Potter tenor melody over Gilmore’s rubato foundation, setting the stage for a pretty, brief Virelles solo unaccompanied. Potter’s solo reaches a slow climax hinting at both the influences of John Coltrane and Jan Garbarek. “The Dreamer Is The Dream” allows Martin ample time to stretch out, and Virelles subtle celeste colors to close further the melancholic quality of the piece. “Illimba” is African inspired with Potter’s African finger piano, and Gilmore, nephew of legendary drummer Roy Haynes, makes subtle pockets of explosions underneath Potter’s scaling tenor improvisation, before embarking on a lengthy drum solo of his own. The saxophonist’s use of overdubbed horns, soprano, bass clarinet, flute and tenor on “Memory And Desire” indicates the lessons of grand texture learned in the Pat Metheny Unity Group, and the piece’s opening surreal use of reversed post production sounds adds to the overall dream like theme of the album. The soprano solo at times in the tone, and whimsical nature of ideas recalls Wayne Shorter, much like Potter’s soprano solo on pianist Kevin Hays’ “Okinawa” from “Lift: Live At The Village Vanguard” (Sunnyside, 2004).The album ending “Sonic Anomaly” features Virelles in a particularly spiky mood, finding joy in repeated hammered dissonances and peels of sixteenth note runs, and Potter’s abrupt, staccato phrases.
“The Dreamer Is The Dream” besides having a terrific quartet, is also a reminder of how beautiful an album recorded at Avatar Studios can sound in light of it’s recent closing. The sound, full of air, and presence, highly stylized, brings so much to the music, and another reminder of Eicher’s ability to bring out such focused, concise performances out of all concerned. The album showcases Potter’s comfort in a variety of idioms, and makes it hard to believe he’s been on the scene for more than 30 years. The passion in his playing still shows the hunger of someone fresh in the jazz world. Wonderful stuff.
Reviewed by CJ Shearn
ECM CD: 5740661 / LP: 574 1473
Chris Potter: tenor/soprano saxophones, bass clarinet, clarinet, flute, ilimba, samples; David Virelles: piano, celeste; Joe Martin: double-bass; Marcus Gilmore: drums, percussion
Recorded June 2016
Saxophonist Chris Potter, since his debut in the early nineties with trumpeter Red Rodney, has added continued dimensions with his playing and shown his versatility over the years by participating in the bands of Dave Holland, Steely Dan and the Pat Metheny Unity Group. Albums such as “Unspoken” (Concord, 1997) “Follow The Red Line: Live At The Village Vanguard” (Sunnyside, 2007) have been uncompromising modern jazz and have staked his claim in arguably being the most influential saxophonist in jazz since the late Michael Brecker. So many saxophonists in jazz today, including Seamus Blake, and Donny McCaslin as well as many on local scenes have bore Potter’s influence, and his third disc for ECM with his quartet, “The Dreamer Is The Dream”, scales back a bit from the larger scope “Imaginary Cities” (ECM, 2015) but not at the expense of complex, thought provoking music.
Manfred Eicher’s investment over the past several years documenting some of New York’s finest musicians like legendary drummer Billy Hart, and pianist Aaron Parks has added a layer of intensity to the ECM catalog a bit different from the sound of it’s European projects but perfectly meshing his spacious, evocative cinematic quality, with the take no prisoners style of New York jazz. This quality is amplified by Potter’s outstanding quartet featuring pianist David Virelles, bassist Joe Martin and the phenomenal Marcus Gilmore on drums. Each group member on a set of six Potter originals gets to shine equally bright in inspired ways. The ballads in particular, sensuous and sinewy are highlights. “Heart And Hand” builds upon a a yearning Potter tenor melody over Gilmore’s rubato foundation, setting the stage for a pretty, brief Virelles solo unaccompanied. Potter’s solo reaches a slow climax hinting at both the influences of John Coltrane and Jan Garbarek. “The Dreamer Is The Dream” allows Martin ample time to stretch out, and Virelles subtle celeste colors to close further the melancholic quality of the piece. “Illimba” is African inspired with Potter’s African finger piano, and Gilmore, nephew of legendary drummer Roy Haynes, makes subtle pockets of explosions underneath Potter’s scaling tenor improvisation, before embarking on a lengthy drum solo of his own. The saxophonist’s use of overdubbed horns, soprano, bass clarinet, flute and tenor on “Memory And Desire” indicates the lessons of grand texture learned in the Pat Metheny Unity Group, and the piece’s opening surreal use of reversed post production sounds adds to the overall dream like theme of the album. The soprano solo at times in the tone, and whimsical nature of ideas recalls Wayne Shorter, much like Potter’s soprano solo on pianist Kevin Hays’ “Okinawa” from “Lift: Live At The Village Vanguard” (Sunnyside, 2004).The album ending “Sonic Anomaly” features Virelles in a particularly spiky mood, finding joy in repeated hammered dissonances and peels of sixteenth note runs, and Potter’s abrupt, staccato phrases.
“The Dreamer Is The Dream” besides having a terrific quartet, is also a reminder of how beautiful an album recorded at Avatar Studios can sound in light of it’s recent closing. The sound, full of air, and presence, highly stylized, brings so much to the music, and another reminder of Eicher’s ability to bring out such focused, concise performances out of all concerned. The album showcases Potter’s comfort in a variety of idioms, and makes it hard to believe he’s been on the scene for more than 30 years. The passion in his playing still shows the hunger of someone fresh in the jazz world. Wonderful stuff.
Reviewed by CJ Shearn
