Review: Tenor sax titan, Ellery Eskelin has released several, critically acclaimed CDs for this record label, namely with drummer Jim Black and accordionist and electronics denizen, Andrea Parkins. However, this recently issued outing, culled from a 1990 New York City studio session, signifies Eskelin’s first jazz trio. It’s a quasi, free-form outing containing a uniformly structured approach, which is a contrasting notion that might seem illogical at face value.
Featuring double-bassist Drew Gress and drummer, Phil Haynes, the saxophonist improvises through various melodies atop organized pulses in concert with a distinct sense of mobility. With the opener titled “Blues,” Eskelin’s muscular lines mesh nicely with Gress’ wooden-hued bass parts while Haynes establishes an in-the-pocket groove. Here, the trio executes a relaxed swing, amid a bit of thoughtful deconstruction during the bridge. They veer off into opposing angles only to reestablish the primary theme for the coda.
Ultimately, this trio’s simmering approach is built upon gradually climactic movements and articulate improvisational exercises. One of the many highlights here is the group’s wonderful take on Duke Ellington’s “Fleurette Africaine.” On this piece, the musicians commence with a fragile gait, marked by Haynes’ delicate mallet work on the toms. Eventually, Eskelin and Haynes break off into a duet motif while Gress rejoins and the band reorganizes a bit while transitioning back into the rather cool and somber melody.
The album title serves as a good indicator of what this trio set out to accomplish. Nonetheless, it’s a significant unearthing of important archival material by one of the top musical minds in jazz. (Vigorously recommended…)
JazzReview.com
