JESSE BYROM-CARTER - The Next Tomorrow Is Yesterday
Hy Brasil Records
Alina Engibaryan (vocals); Alex Quinn (trumpet); Michael Bliss (alto saxophone); Alan Ferber, Eric Quinn (trombone); Adam Rogers (guitar); Ryan Slatko, Santiago Liebson (piano); Jesse Byrom-Carter (double & electric basses); Ken Ychicawa (drums)
Recorded December 8th, 2016
Originally from Perth, Australia, bassist Jesse Byrom-Carter relocated to New York City, and has since built a solid reputation as an in-demand sideman working with Joe Lovano, Dave Pietro, Jim McNeely, Lenny White, Alex Sipiagin, and Mark Whitfield jr, among others.
The Next Tomorrow Is Yesterday is the debut album from the bassist, and a cursory listen will quickly explain why the above named musicians have sought his services. What the debut also shows is that as well as an accomplished musician he is also a fine small group composer in a set that features seven original compositions penned by Byrom-Carter that are immediately engaging and thought provoking.
The writing and playing is firmly in the modern post-bop vain, and thus all avoid any hint of the formulaic theme-solos-theme way of working, and instead each piece is carefully crafted and arranged while still allowing plenty of room for the soloists. Having said that, it is the writing and the way in which the assembled musicians have quickly got a grasp on the music that really marks out the music as something special.
Byrom-Carter ensures that the bass is at the heart of the music, not in taking more than his fair share of solo space (if anything he shies away from the limelight in this respect), but in making sure the rhythmic duties are taken care of with a rhythm section that have a strong rapport, with his sure sense of time and superb tone on the double bass that lends a really solid foundation. When switching to electric bass, he resists the fleet fingered virtuosity displayed by many of his contemporaries instead focusing his playing on the ensemble as a whole.
With strong material to work with, the band certainly make the most of the settings presented. Adam Rogers is an inspired choice, with the guitarist fitting in the music as if was written for him, forging a superb relationship with Byrom-Carter's bass playing whether double or electric bass.
Pianist, Santiago Liebson, a new name to me, proves himself a sensitive accompanist, and takes a superbly concise and coherent solo on 'Hand Of Fate', followed by an equally lucid solo from altoist, Michael Bliss who impresses throughout, and also takes another fine solos on the most conventional and swinging piece on the album, 'Metamorphosis' which as the title suggests concludes as something entirely different.
Within the concept of the album, Byrom-Carter also introduces the vocals of Alina Enigbaryan who is heard on two tracks featuring lyrics written by the leader that bring an other worldly touch to the set as indicated in the album's title, and her wordless vocals, on what for me is one of the highlights, 'Hy Brasil', with some wonderful orchestration, and alovely trumpet outing from Alex Quinn.
A promising debut, marking out Jesse Byrom-Carter out as definitely one to watch as he hones both his impressive writing and bass playing, and a rewarding listen to boot.
Reviewed by Nick Lea
Hy Brasil Records
Alina Engibaryan (vocals); Alex Quinn (trumpet); Michael Bliss (alto saxophone); Alan Ferber, Eric Quinn (trombone); Adam Rogers (guitar); Ryan Slatko, Santiago Liebson (piano); Jesse Byrom-Carter (double & electric basses); Ken Ychicawa (drums)
Recorded December 8th, 2016
Originally from Perth, Australia, bassist Jesse Byrom-Carter relocated to New York City, and has since built a solid reputation as an in-demand sideman working with Joe Lovano, Dave Pietro, Jim McNeely, Lenny White, Alex Sipiagin, and Mark Whitfield jr, among others.
The Next Tomorrow Is Yesterday is the debut album from the bassist, and a cursory listen will quickly explain why the above named musicians have sought his services. What the debut also shows is that as well as an accomplished musician he is also a fine small group composer in a set that features seven original compositions penned by Byrom-Carter that are immediately engaging and thought provoking.
The writing and playing is firmly in the modern post-bop vain, and thus all avoid any hint of the formulaic theme-solos-theme way of working, and instead each piece is carefully crafted and arranged while still allowing plenty of room for the soloists. Having said that, it is the writing and the way in which the assembled musicians have quickly got a grasp on the music that really marks out the music as something special.
Byrom-Carter ensures that the bass is at the heart of the music, not in taking more than his fair share of solo space (if anything he shies away from the limelight in this respect), but in making sure the rhythmic duties are taken care of with a rhythm section that have a strong rapport, with his sure sense of time and superb tone on the double bass that lends a really solid foundation. When switching to electric bass, he resists the fleet fingered virtuosity displayed by many of his contemporaries instead focusing his playing on the ensemble as a whole.
With strong material to work with, the band certainly make the most of the settings presented. Adam Rogers is an inspired choice, with the guitarist fitting in the music as if was written for him, forging a superb relationship with Byrom-Carter's bass playing whether double or electric bass.
Pianist, Santiago Liebson, a new name to me, proves himself a sensitive accompanist, and takes a superbly concise and coherent solo on 'Hand Of Fate', followed by an equally lucid solo from altoist, Michael Bliss who impresses throughout, and also takes another fine solos on the most conventional and swinging piece on the album, 'Metamorphosis' which as the title suggests concludes as something entirely different.
Within the concept of the album, Byrom-Carter also introduces the vocals of Alina Enigbaryan who is heard on two tracks featuring lyrics written by the leader that bring an other worldly touch to the set as indicated in the album's title, and her wordless vocals, on what for me is one of the highlights, 'Hy Brasil', with some wonderful orchestration, and alovely trumpet outing from Alex Quinn.
A promising debut, marking out Jesse Byrom-Carter out as definitely one to watch as he hones both his impressive writing and bass playing, and a rewarding listen to boot.
Reviewed by Nick Lea
