Steve Coleman’s Natal Eclipse - Morphogenesis

Morphogenesis

Steve Coleman’s Natal Eclipse

Pi Recordings

Steve Coleman - alto saxophone

Jonathan Finlayson - trumpet

Maria Grand - tenor saxophone

Rane Moore - clarinet 

Kristin Lee - violin 

Jen Shyu - vocals 

Matt Mitchell - piano 

Greg Chudzik - bass 

Neeraj Mehta - percussion

Steve Coleman has been undergoing an artistic renaissance since joining Pi Recordings in 2010. His M-Base theories have been hugely influential in contemporary jazz over many years, with followers such as Jonathan Finlayson taking his concepts and providing their own interpretations. I've had reservations about the M-Base style, chiefly that the fixed rhythms on releases such as 1995's Def Trance Beat (Modalities of Rhythm) have tended to anchor in place soloists, including Mr. Coleman, and prevented them from taking full flight.

Coleman has expanded his palette over the course of four Pi releases, and the result has been the best recordings of his career. Morphogenesis continues that streak with what is essentially an ambitious multi-part suite spanning 60-plus minutes. What's impressive is the clarity of the vision and how well the sections hang together to create the whole.

Coleman creates interest by constantly shifting the focus to different instruments in a seamless fashion distinct from the traditional jazz solo. Rhythms are more supple and varied than in his earlier works. The cyclical effect of the compositions' structures bears a faint resemblance to Anthony Braxton's Ghost Trance music, although Coleman is his own person as a composer and player.

There were a couple of sections that I felt overstayed their welcome, but overall Morphogenesis is another impressive milestone in Steve Coleman's career.

Matt Mitchell - Vista Accumulation

Matt Mitchell

Vista Accumulation

Pi Recordings

Chris Speed - Tenor Saxophone, Clarinet

Matt Mitchell - Piano

Chris Tordini - Bass

Dan Weiss - Drums

I like albums that take you somewhere, a journey, maybe to somewhere inside of yourself, or perhaps bringing back flashes of memories. This is what happens when I listen to Vista Accumulation, pianist Matt Mitchell’s new 2 CD set on Pi.

I was skeptical when I first heard about this project, primarily because two CD’s worth of material is ambitious for an artist I perceived as relatively new on the scene. However, Mitchell is 40 and has been featured on Tim Berne’s three ECM albums as well as with Dave Douglas’ quintet. I was also curious, because Mitchell fits in with so many diverse situations I wasn’t sure what I’d hear.

Vista Accumulation manages to sustain a mood and thematic unity over the course of 95 minutes, without exhausting the underlying ideas. His approach is an intriguing mix of impressionism and modern classical, and frankly there’s nothing overtly “jazzy” in his approach to his eight compositions. Lines unfold in an unhurried way, and the mostly medium tempos give the group time to explore the material, with Chris Speed’s clarinet a highlight. Chris Tordini and Dan Weiss create subtle, shifting patterns underneath, ripples spreading across the music.

Perhaps it’s fitting that I’m absorbing Vista as the seasons change from summer to fall. I can see the flashes of dark gold and amber, mixed in with dark greens and browns. It’s a story that is yet to fully unfold, and I’m ready for the next chapter.

Bonus: For an unintentionally amusing review of Vista Accumulation, go here.

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!