Musicians: Glenn White (tenor saxophone), Roberta Piket (piano and Rhodes), Jamie Baum (flute and alto flute), Gary Wang (bass), Jeff Hirshfield (drums), and Patrick Hay (guitar)
Review: Jazz saxophonist Glenn White displays limitless vigor and springiness in the creative curves of the tracks on his new CD, Sacred Machines. Produced by David Binney, the album features Roberta Piket on piano, Jamie Baum on flutes, Gary Wang on bass, Jeff Hirshfield on drums, and Patrick Hay on guitar. The ensemble brandishes scintillating twitters, glistening crescendos, and savvy cascades that form lively vignettes of quivering foliage and asymmetrically pruned shrubbery creating a tabernacle of unconformity and sleekly shaped harmonies. The chord notations are capricious like wild electro-magnetic waves, and equally flashy as the instruments dance across each other’s geysers. The tracks project amusement and a jolly gait in the melodies swagger as each musician imprints their individual character on the melodic tarp.
The title track has a Latin flare as White’s saxophone creates a steady core for the other instruments to dance around, and the fluttering accents produce a jolly strut along the rhythmic swells. Instruments produce an attractive fluidity in “Split Infinity” with lacy horns and balladry piano keys, while the tingling vibes of “Triality” has a zesty bounce in the scaling notes and interweaving lines. The soft, luxuriating flute passages of “Washington Heights” produce epic proportioned crescendos and gently rolling glens that show the ensemble’s vigor for life. The solid rhythmic grips adorning “Phobia” are corset in prancing notes and frazzled saxophone twirls as the carpet of gently coasting harmonies lining “Wish” have burrows of tenderly coiled phrases and softly latticed notes. A great deal of artistry is applied to White’s compositions as the final track “Aftermath” is landscaped with rogue horn swirls and tangy bass plucks suctioned to wild riffs that trickle with excitement and joy from end to end.
A bit wild and zealous through the improvisations, Glenn White’s album, Sacred Machines shows unconformity and sheer sleekness in its melodic lines. His ensemble takes chances but also keeps their melodic proportions palatable. New York-based White creates contemporary jazz textures steep in tradition and post-bop freedom. You can hear the evolution of jazz in White’s compositions as he applies a modern approach to archetypal jazz idioms. White has studied under such jazz greats as Steve Lacy, George Garzone, Jerry Bergonzi, Michael Cain, and Tony Malaby. White received degrees from Arizona State University and New England Conservatory of Music. He has performed in the Jazz Composers Alliance Orchestra under the direction of Bob Brookmeyer and Dave Holland, and has been a resident professor in a number of universities. His performance reflects his skills as an educator, which enables him to be a mentor and a trendsetter all in one.
Tracks: Sacred Machines, Split Infinity, Triality, Washington Heights, Phobia, Wish, Aftermath
JazzReview.com
