DAVID VIRELLES - Gnosis
ECM 576 5122 (Available as LP & CD)
Backing Vocals – David Virelles, Mauricio Herrera , Melvis Santa; Bass Drum [Orchestral Bass Drum], Temple Block [Temple Blocks], Bongos, Gong – Alex Lipowski; Clarinet, Bass Clarinet – Rane Moore; Double Bass – Thomas Morgan;
Ensemble – Nosotros Ensemble:
Flute, Piccolo Flute [Piccolo] – Allison Loggins-Hull; Lead Vocals, Percussion – Román Díaz*; Marimba, Glockenspiel – Matthew Gold
Percussion [Ekón], Percussion [Nkomos], Percussion [Erikundi], Claves – Mauricio Herrera
Piano, Marimbula [Marímbula] – David Virelles; Steel Drums [Steel Pan], Claves – Adam Cruz; Viola – Yunior Lopez; Violoncello – Christine Chen, Samuel DeCaprio
Cuban born pianist David Virelles is one of the most creative voices in contemporary jazz piano. Now based in New York, collaborations and performances with artists such as Chris Potter, Mark Turner and Ravi Coltrane have moved him firmly into the premiership of improvisers in the big apple. Gnosis is the latest release in his ever strengthening relationship with legendary record label ECM.
A delicate conversation between the piano and percussion eases the listener in. The instruments enter like animals scuffling around the forest at night. They are aware of each others existence and curiously examine one another. Tension builds to a dramatic climax. A frantic scuffle ensues before peace returns. Fitití Ñongo has a gentle groove which is hypnotic in its deliberate laziness. Virelles constructs long and winding lines over the malleable rhythm. He continues to do so on the solo piano piece Lengua I. The left hand stabs with great rhythmic precision at the uncontrollably energetic melodic improvisation. It feels as though a tormented subject is attempting to swat the erratic fly buzzing around his head.
There are several solo piano pieces on the album. De Ida Y Vuelta I is peaceful and embraces diatonic harmony more explicitly than many of the compositions. The change in pace makes the performance all the more moving and emotionally satisfying. Virelles is a master of building tension. He patiently assembles arpeggios and chordal structures. The restraint he shows makes him sound like a master musician and someone who has discovered the instrument for the first time. It is this sense of wonder that keeps the listener engaged with the performance.
The story telling nature of the improvisations and the lack of a melodic focal point gives the music the feel of a soundtrack. As the album progresses, the instruments cease to be sources of sound and instead become characters in a story, ones who disappear and remerge. Occasionally they present a monologue and at other times they interact. The story is full of suspicion, drama, joy and emotion.
Benkomo is a compelling painting in sound where the palette is awash with distant drum hits, glissandos and investigations of the piano’s lower and upper ranges. The vocals join the conversation and seem to be asking questions which are pondered over by the ensemble. The musicians walk in rhythm on Tierra. Occasionally a curious party strays from the group to explore the surroundings, only to return to the group. The piano leads from the front, preaching to the followers. Virelles improvises with a sophisticated level of melodic development, one which is subtle to the point of camouflage. As the tempo steps up a notch, order is maintained. The plucked strings retain their composure, treading carefully behind the leader.
Throughout the album, the percussion is not always used to make a groove or rhythmic foundation, but to create textures and accent parts of the improvisation. It pushes the climaxes and draws the listener in to the quieter moments. Gnosis concludes appropriately with a Virelles solo piece that combines the improvisational techniques heard thus far. He presents a thrilling epilogue to a fascinating story.
Reviewed by John Marley
ECM 576 5122 (Available as LP & CD)
Backing Vocals – David Virelles, Mauricio Herrera , Melvis Santa; Bass Drum [Orchestral Bass Drum], Temple Block [Temple Blocks], Bongos, Gong – Alex Lipowski; Clarinet, Bass Clarinet – Rane Moore; Double Bass – Thomas Morgan;
Ensemble – Nosotros Ensemble:
Flute, Piccolo Flute [Piccolo] – Allison Loggins-Hull; Lead Vocals, Percussion – Román Díaz*; Marimba, Glockenspiel – Matthew Gold
Percussion [Ekón], Percussion [Nkomos], Percussion [Erikundi], Claves – Mauricio Herrera
Piano, Marimbula [Marímbula] – David Virelles; Steel Drums [Steel Pan], Claves – Adam Cruz; Viola – Yunior Lopez; Violoncello – Christine Chen, Samuel DeCaprio
Cuban born pianist David Virelles is one of the most creative voices in contemporary jazz piano. Now based in New York, collaborations and performances with artists such as Chris Potter, Mark Turner and Ravi Coltrane have moved him firmly into the premiership of improvisers in the big apple. Gnosis is the latest release in his ever strengthening relationship with legendary record label ECM.
A delicate conversation between the piano and percussion eases the listener in. The instruments enter like animals scuffling around the forest at night. They are aware of each others existence and curiously examine one another. Tension builds to a dramatic climax. A frantic scuffle ensues before peace returns. Fitití Ñongo has a gentle groove which is hypnotic in its deliberate laziness. Virelles constructs long and winding lines over the malleable rhythm. He continues to do so on the solo piano piece Lengua I. The left hand stabs with great rhythmic precision at the uncontrollably energetic melodic improvisation. It feels as though a tormented subject is attempting to swat the erratic fly buzzing around his head.
There are several solo piano pieces on the album. De Ida Y Vuelta I is peaceful and embraces diatonic harmony more explicitly than many of the compositions. The change in pace makes the performance all the more moving and emotionally satisfying. Virelles is a master of building tension. He patiently assembles arpeggios and chordal structures. The restraint he shows makes him sound like a master musician and someone who has discovered the instrument for the first time. It is this sense of wonder that keeps the listener engaged with the performance.
The story telling nature of the improvisations and the lack of a melodic focal point gives the music the feel of a soundtrack. As the album progresses, the instruments cease to be sources of sound and instead become characters in a story, ones who disappear and remerge. Occasionally they present a monologue and at other times they interact. The story is full of suspicion, drama, joy and emotion.
Benkomo is a compelling painting in sound where the palette is awash with distant drum hits, glissandos and investigations of the piano’s lower and upper ranges. The vocals join the conversation and seem to be asking questions which are pondered over by the ensemble. The musicians walk in rhythm on Tierra. Occasionally a curious party strays from the group to explore the surroundings, only to return to the group. The piano leads from the front, preaching to the followers. Virelles improvises with a sophisticated level of melodic development, one which is subtle to the point of camouflage. As the tempo steps up a notch, order is maintained. The plucked strings retain their composure, treading carefully behind the leader.
Throughout the album, the percussion is not always used to make a groove or rhythmic foundation, but to create textures and accent parts of the improvisation. It pushes the climaxes and draws the listener in to the quieter moments. Gnosis concludes appropriately with a Virelles solo piece that combines the improvisational techniques heard thus far. He presents a thrilling epilogue to a fascinating story.
Reviewed by John Marley
