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Posts tagged ‘Tyshawn Sorey’

London Jazz Festival 1: The peak of their art

After an hour of Mike Westbrook’s autumnal musings at the Pizza Express’s piano on Sunday afternoon, in which the great composer, arranger and bandleader stitched together the memories of a life in music into a seamless reverie with a quiet intensity that held the room in thrall, the scene at the 2021 London Jazz Festival moved to the South Bank, where Vijay Iyer, Linda May Han Oh and Tyshawn Sorey stormed the Queen Elizabeth Hall with something belonging entirely to the here and now.

Sometimes you get lucky and witness something that makes you realise how high the standards can be. Doesn’t matter what it is. Tennis, poetry, carpentry. On Sunday night it was jazz. A pianist, a bassist and a drummer dropped in to examine the art of the possible, demonstrating over the course of two hours of high-density interplay what can happen when three like-minded virtuosi get it into their heads to create something in which 1+1+1 = infinity.

Basically, they played their way through their recent album, Uneasy. It’s one of the year’s finest releases, but here they stretched it, expanded it, tossed its elements around, and gave it a completely new existence. So many bases were covered — 21st century takes on bebop, Latino patterns, reggae, the circular rhythms of Tyner-Garrison-Jones — that the time passed very quickly.

Linda Oh is the least known of the three, but her bass playing was the heart of the group: slight build, total physical commitment, wonderful tone, great agility, an endless flow of ideas. Vijay Iyer is a cerebral pianist who nevertheless relishes any involvement with rhythm (one night at the Lido in Berlin a few years ago, he and his regular acoustic trio — completed by the bassist Stephan Crump and the drummer Marcus Gilmore — locked into an endless groove that any funk band would have envied). Tyshawn Sorey operates with complete comfort at the absolute extremities of the dynamic range, from whisper-quiet to shatteringly loud, plus every setting in between. On this occasion he made you wonder why anyone would ever need more than a small bass drum, a medium-sized snare, a single cymbal and a hi-hat, from each of which he drew an astonishing variety of tones and timbres.

Their music rattled, jolted, cruised, purred, broke apart, blended back, cantered, swung, faked a stumble, slowed to a sigh. The audacity made you gasp. Solos were taken, but were always part of the whole. Oh’s leaping grooves made you want to dance. Iyer’s upper-register filigree made your mind soar. Sorey’s sudden whipcracks straightened your back.

Another side of the multi-dimensional Sorey is on view in For George Lewis / Autoschediasms, a two-CD set in which his compositions are performed by Alarm Will Sound, a New York-based 16-piece chamber orchestra here made up of brass, woodwind, strings and percussion, tuned and untuned. “For George Lewis”, a 50-minute piece dedication to his mentor and fellow composer, conducted by Alan Pierson, bears the imprint of Sorey’s interest in the music of Morton Feldman: fully composed, based on a process of accretion and subtraction of single held notes, it moves with mesmerising deliberation through austere and refined layers of sound, creating the musical equivalent of colour-field painting.

“Autoschediasms” is Sorey’s name for his version of the approach to creating real-time music with large ensembles pioneered by Butch Morris (who called it “conduction”) and Anthony Braxton. In these two performances, recorded in St Louis in May 2019 and in various US cities via internet video chat in October 2020, Sorey takes the rostrum, giving the musicians prompts via gestures and prepared cue-cards. “The method can involve the use of up to four batons simultaneously by the conductor,” he writes in his informative notes, and anyone who has seen him at a drum kit will know that this is a challenge well within his scope. The result is a much more obviously active ensemble music, its details and densities sometimes clashing or overlapping, but with an emerging coherence and, like a master of action painting, an excellent sense of drama.

* Uneasy by Vijay Iyer, Linda May Han Oh and Tyshawn Sorey is on ECM. For George Lewis / Autoschediasms by Tyshawn Sorey and Alarm Will Sound is on Cantaloupe Music (www.cantaloupemusic.com).

The uneasy trio

It’s possible that, like me, you think there are already quite enough jazz piano trio albums in your collection. Think again. Uneasy, the new recording by Vijay Iyer, Linda May Han Oh and Tyshawn Sorey, demands attention.

The realignment of the piano-bass-drums hierarchy from “piano with rhythm accompaniment” to a full three-way conversation of equals has been going on for decades, and Uneasy is about as elevated as the format currently gets. Listen to the opener, “Children of Flint”, to appreciate the level of interaction between three musicians with virtuoso-level skills and giant imaginations. It sounds lyrical, even simple. But just concentrate on the astonishing touch displayed by each of the trio, whether on piano keys, bass strings, drums or cymbals, and the sense of three seamlessly interlocking and interdependent components.

As you work your way through the 10 tracks — eight compositions by Iyer, plus Geri Allen’s “Drummer’s Song” and Cole Porter’s “Night and Day” — you’ll also notice a complete absence of ego-projection. No one is showing off. On the sole standard, it’s easiest to hear how far Iyer can take the line of piano-playing founded by Bud Powell. Oh displays the deep sense of swing, nimble melodic imagination and beautiful sound of a 21st-century Paul Chambers. Sorey creates a momentum at once light but deep, exploiting a combination of technique and intellect that redefines the investigation of rhythm.

Recorded in a studio in Mount Vernon, NY three months before pandemic arrived, the album comes with a cover photograph of the Statue of Liberty seen through mist and against clouds. In his sleeve note, Iyer writes that Uneasy was originally the title of a collaborative piece with the choreographer Karole Armitage in 2011, exploring “the instabilities that we then sensed beneath the surface of things… the emerging anxiety within American life. A decade later, as systems teeter and crumble, the word feels like a brutal understatement.”

That heightened disquiet, however, remains implied. You’re not thinking about the end of the world. You’re remembering how even the darkest of times can’t extinguish such astonishing creativity. One of the records of the year, no doubt.

* Uneasy is on ECM Records. The photographs of (from top) Iyer, Oh and Sorey are from the CD’s booklet and were taken by Craig Marsden.

Live at the Village Vanguard

Something Sonny Rollins said in an excellent interview in the March issue of Uncut magazine reminded me of how much I miss being in clubs. The thing with live music, Rollins told John Lewis, is that “everybody has a role — even the audience. The guy nodding his head, the girl who’s smiling, the sceptic who’s not impressed — they all make you play better.” He was answering a question about his youthful experiences in clubs on 52nd Street, but the thought is eternal.

The Village Vanguard, the legendary club on Seventh Avenue South where John Coltrane, Bill Evans and many others made historic recordings, is currently programming a series of livestreamed gigs. You pay $10 and you can either watch the performance live or at any time in the following 24 hours. It’s a way of staying close to the practitioners of an idiom that places such a premium on communication, as well as supporting an institution.

I caught the second of the weekend’s two gigs by the drummer Tyshawn Sorey, the saxophonist Joe Lovano and the guitarist Bill Frisell. Sorey was billed as the leader, and I guess the tunes must have been his, but this was a meeting of three creative minds in a relaxed chamber-jazz environment. I particularly enjoyed seeing Tyshawn — who can do anything — at work on a small jazz kit, swinging with a loose, easy but totally alert feeling that makes me think of Billy Higgins and Tony Williams at the same time.

Lovano and Frisell played together for many years in a trio with the late drummer Paul Motian. There’s no replacing the kind of rapport those three developed over time, but it was fascinating to hear the music the two of them made with Sorey deepen and intensify over the course of an hour. One day maybe we’ll be in the same room as these musicians again, playing our little parts in the ceremony.

* The Vanguard’s coming attractions include the trio of the great pianist Kris Davis and solo performances by the guitarist Ben Monder and the drummer Bill Stewart. Go to http://www.villagevanguard.com and hit the livestream button. You’ll need to register.