Erik Hove Chamber Ensemble - Polygon

Polygon

Erik Hove

Inner Circle Music

Erik Hove - alto sax, clarinet, flute, electronics
Anna Webber - flute, alto flute
Krisjana Thorsteinson - oboe
Krista Martynes - clarinet, bass clarinet
Andy King - trumpet
Kate Bevan-Baker - violin
Jean René - viola
Jane Chan - cello
Rémi-Jean Leblanc - bass
Evan Tighe - drums 

Polygon is the follow up to Hove’s 2014 release, Saturated Colour, featuring some of the same musicians, such as fellow Canadian saxophonist Anna Webber. 

As Hove explains: “This album builds on the sounds and concepts of … Saturated Colour. The goal in writing was to expand upon ideas already in play, in addition to adding a layer of electronics to many of the tracks in order to fuse the timbres and broaden the sonic palette of the ensemble.”

Polygon is aptly titled, as tracks such as Tessellation and Tetrahedron display a mathematical rigor and a decidedly serial bent. What’s nice is that Hove will break up patterns by shifting to looser rhythms and juxtaposing a solo voice versus the ensemble, albeit in a more structured way than a traditional jazz ensemble. 

The introduction of electronic effects, particularly on Tetrahedron, proves effective and marks the biggest difference between Polygon and Colour. I hope Hove delves more deeply into this area on future releases.

Fans of Anthony Braxon’s music for mid-sized ensembles will find a lot to like here.

Erik Hove Chamber Ensemble - Saturated Colour

Erik Hove Chamber Ensemble

Saturated Colour 

Self-released

Erik Hove - Saxophone, flute, clarinet

Anna Webber - Flute

Krisjana Thorsteinson - Oboe

Bradley Powell - Clarinet

Andy King - Trumpet

Josh Zubot - Violin

Thomas Quail - Viola

Jane Chan - Cello

Remi-Jean Leblanc - Bass

Evan Tighe - Drums 

Erik Hove is a Canadian musician that came to my attention via Anna Webber, who plays flute in his Ensemble, and who recently released an excellent disc of her own, SIMPLE. His ten-piece group features a jazz rhythm section married to a small contemporary chamber ensemble, and as he states, “explore(s) a synthesis of contemporary compositional concepts with current ideas from jazz and improvised music…” 

Hove composed all the selections and plays woodwinds on Saturated Colour. It took me a minute to get used to the unusual harmonies he uses, but once I acclimated I was all in. It reminds me a little of Steve Lehman’s Octet, and no wonder, as both Lehman and Hove have been influenced by the spectral techniques of composers such as Murail. Both Hove and Lehman play alto, and both have a tart, angular style. But Hove definitely has his own take on the spectral school, with more pastel shading to his music and a more impressionistic approach vs. Lehman. 

The spectral influence does result in that unique shimmering sound that I noted in my review of Lehman’s Mise en Abîme, and as I listened to Saturated Colour I had the feeling of being held in suspended animation. Hove makes beautiful use of the combination of woodwinds and strings in the arrangements, such as on the track Ascending. There’s a slight third-steam influence here as well, which I really dig, but without the stiffness or stuffiness that is sometimes ascribed to that movement.

This is an intriguing CD whose subtle charms reveal themselves through repeated listens. At times it sounds as if it might veer off into Gil Evans-influenced big band territory, but then Hove will throw in a curve ball to prevent things from getting too comfortable. 

Enigmatic, in a good way.

Anna Webber - SIMPLE

Anna Webber

SIMPLE

Skirl Records

Anna Webber - Tenor saxophone, flute, alto flute

Matt Mitchell - Piano, prepared piano
John Hollenbeck - Drums, percussion

SIMPLE is at once an apt and a misleading title for this CD. Saxophonist/flautist Webber, a new name to me, has attracted a couple of A-listers in Mitchell and Hollenbeck for her project, and upon listening it’s easy to see why they wanted to be on board – there’s a lot to sink your teeth into.

Ms. Webber uses only the three instruments to fulfill her compositional vision over the seven tracks of the album. However, she deploys an impressive variety of approaches to the material, from quieter minimalist passages to themes stated in unison to knotty full-bore free improv.

Using only woodwinds, piano and drums creates a lot of open space in the music, and Webber plays in and around the compositions, suggesting they could unspool infinitely. Her tone on tenor is malleable, bending and stretching notes in a way that calls to mind the spirit, if not the exact style, of a young David Murray.

Shifting effortlessly and seamlessly from composed to improvised sections, intricate is the word that best sums up her approach, and if that seems to be contrary to the title of the album, somehow it all fits. She makes the complex simple, which as we all know is harder than making the simple complex.

As soon as SIMPLE had finished, I started over and immediately listened to it again. Now that’s the sign of a good record!