Drummer/composer
Tyshawn Sorey and his trio released the wonderful
Mesmerism in March, a standards set offering almost revelatory discoveries of harmonic mystery inherent in compositions by
Horace Silver,
Duke Ellington,
Muhal Richard Abrams, and others. This is its companion, albeit three times longer and with more complex articulation and drama.
Sorey re-teamed with pianist
Aaron Diehl (who also played on
Mesmerism), and enlisted bassist
Russell Hall and saxophonist/composer
Greg Osby on this three-and-a-half hour live performance at New York's Jazz Gallery, playing jazz and Great American Songbook standards (and one
Osby original). The approach is raw, more kinetic, and no less revealing than on
Mesmerism. Most tunes are repeated, and versions range from just over seven minutes to twenty.
Osby opens it with a meandering alto solo before introducing the band with a one-note vamp that morphs into
Cole Porter's "Night and Day."
Sorey's almost constantly breaking snare and double-timed hi-hat support
Osby -- playing with the melody. It contrasts with
Diehl's knotty comping and nearly percussive swing.
Hall anchors the band and eventually takes a labyrinthine solo.
Osby's "Please Stand By" adds drama through a minor mode approach, underscored by foreboding bassline and spectral pianism.
Sorey frames them all with seamlessly syncopated, skittering accents and pulses. The tune segues into
Billy Strayhorn's "Chelsea Bridge," delivering some of
Osby's tenderest, most intimate playing. In the group conversation, the rhythm section frames
Diehl's inquisitive chords simmering under the formal harmony. The two versions of
Ornette Coleman's "Mob Job" are mirror images of one another. The first is stormy and rumbling; it emerges from a taut alto solo. The latter is more lyric and deliberate, accenting each of
Coleman's melodic notes as the conversational beginning of canny groupthink. The first of
Thelonious Monk's two "Ask Me Now" versions finds
Osby soloing unaccompanied before
Diehl lays down moody chords. The rhythm section underscores and accents the front line statements. They discover blues deep in the tune's body before using them as an improvisational engine.
Other highlights include a joyous, barnstorming read of
Fats Waller's "Jitterbug Waltz," and a version of
McCoy Tyner's "Contemplation" with majestic modal harmony framing a nearly elastic sense of time.
Miles Davis' "Solar" offers the hard bop blues with a tough, driving, modal swing. The inclusion of
Andrew Hill's ballad "Ashes" is a meditation on subtlety, spirituality, and grace. The interplay between
Diehl and
Osby delivers a breathtaking example of almost symbiotic elocution. They place
Hill's poignant direction and elliptical movement at the fore as the rhythm section offers spacious support.
The Off Off Broadway Guide to Synergism is the sound of a quartet thoroughly enjoying itself on the bandstand while engendering deep musical conversation for an enthusiastic, appreciative audience. This long, deeply satisfying set joins its immediate predecessor as one of 2022's finest jazz releases. ~ Thom Jurek
