Entertainment
Trumpeter's orchestra explores vast “Horizons”
Jon W. poses
Veteran trumpeter Alex Sipiagins Horizons (Blue Chamber Music), released a month ago, sees a coterie of exceptional musicians join forces to deliver a beautifully crafted and arranged set of 10 originals.
The frontman composed eight tracks and guitarist Pat Metheny, by special arrangement, wrote the remaining two tracks specifically for this session.
On Horizons, Sipiagin, who was born in Russia but emigrated to the United States several decades ago and recently moved to Italy, is joined on the front line by saxophonist Chris Potter, as well as an exceptional rhythm section from keyboardist John Escreet, bassist Matt Brewer and drummer Eric Harland. This is a powerful musical elixir in which each of the five musicians is given ample space to strut their stuff via solos and demonstrate their deep and equally competent insight as ensemble players.
There are some very detailed and complex passages where the music is not only captivating at first glance, but seems so because of the band's ability to interweave with confidence. They do this in a number of combinations and permutations; it usually happens in a subtle and transparent way, so much so that it will likely take a number of close listens to recognize everything.
With Sipiagin leading the way, there's a group improvisational interplay, like on Horizon 1, where Escreet uses tasteful electronic keyboards and electronics as a sound bed. Potter also solos underneath, and Sipiagin sounds his trumpet in a bugle-like manner as he enters Horizon 2, which initially possesses a kind of quietude.
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There are times when one might think that if Miles Davis were still alive and operating in the 21st century with his Live at the Fillmore ensemble, he might release such an ethereal three-part suite that, in the end, will slip peacefully in Horizon 3 until she quietly disappears.
Sipiagins' approach and delivery of this section isn't all that surprising considering that he and Potter have worked extensively with bassist Dave Holland in a variety of contexts. Holland is the same bassist who was a vital part of Davis' first, and ultimately founding, electric band of the late 1960s that created and presented those jazz-fusion performances Live at the Fillmore.
Knowing the talents and backgrounds of Sipiagin, Potter, Brewer and Harland quite well, I wonder how Escreet, a now 39-year-old British artist who moved to New York as a teenager, would fit in with four heavy goods vehicles.
Checking the information superhighway, I learned that after moving to New York, Escreet enrolled at the Manhattan School of Music where he studied with pianists Kenny Barron and Jason Moran not too bad, no ? and earned a master's degree. Around the same time, he released his first recording as a leader, featuring famed saxophonist David Binney as well as other avant-garde musicians, including bassist Brewer. This is the number one link.
On later releases, Escreet also worked with Potter and Harland. This is link number two. Then there is also his sideman work with Sipiagin. I think that's everyone.
It doesn't matter that I don't know Escreet's work. His bandmates obviously were, which is much more important.
There are several notable Escreet moments hosted in Horizons. The first is five minutes into the opening song While You Werent Looking, one of two Metheny compositions. The first solo in this fast-paced, staccato-infused piece arrives via Sipiagin, then it's the Potters' turn. His exciting solo leads directly into Escreet's powerful work, a percussive pianistic attack accentuated all the more by his left hand chord playing in combination with his more melodic right hand. The contrast is well designed and executed.
The other track composed by Metheny is When Is It Now?”, a lilting ballad that highlights Sipiagins' flugelhorn work as well as the gentle interplay between him and Potter, with Escreet adding a layer of acoustic piano underneath before Potter does return with his lyrical solo.
Sipiagin seems to deliberately present this Metheny piece in a way that allows listeners to catch their breath; it doesn't last long before the quintet revs their turbocharged engines again, leading them to stretch out during Lost. The song's title is perhaps a bit of a misnomer, given that Sipiagin and Co. seem little to no misguided.
Jon W. Poses is Executive Director of the We Always Swing Jazz Series. Contact him at [email protected].
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