Best Recording 2017 – Tyshawn Sorey’s Verisimilitude

Verisimilitude

Verisimilitude

Tyshawn Sorey

Tyshawn Sorey, drums, percussion, composer; Cory Smythe, piano, toy piano, electronics; Chris Tordini, bass

Pi Records PI70

Tyshawn Sorey has had quite a year of musical accomplishments. After recently finishing up his doctorate at Columbia, he succeeded Anthony Braxton on the faculty at Wesleyan University, won a MacArthur Foundation Fellowship, and received several other major awards and commissions. He has remained active in a number of ensembles, playing a pivotal role on another of this year’s best CDs, Vijay Iyer Sextet’s Far From Over (ECM). Verisimilitude, for Pi Recordings, is his sixth recorded outing as leader. Sorey is joined by pianist Corey Smythe and bassist Chris Tordini in five adventurous and stimulating compositions.

 

A suitable overture, “Cascade in Slow Motion,” is buoyed by interlocking arpeggios from pizzicato bass and piano and punctuated by supply drummed polyrhythms. Clocking in at four and a half minutes, it is the only relative miniature here. Thereafter, Sorey and his colleagues explore long form music-making. An arco bass solo leads off “Flowers for Prashant,” which then turns into a dovetailing duet. A gradual intensification led by this duet texture takes place, only to hew back to drone-based passages of repeated notes.

 

Smythe uses electronics and Tordini high-pitched arco lines to begin “Obsidian.” After an extended introduction exploring these timbres, Tordini plays lower pitched glissandos and Smythe sepulcral bass note stabs. Sorey enters with textural percussion: a gong, a host of woody fills, and shimmering cymbals. A fulsome groove is established; Tordini returns to pizzicato bass, Smythe repeats bass register chords, and Sorey deploys a cannonade at the kit. Eventually, pointillism is reasserted with upper register piano chords and throbbing bass notes; Sorey moves back to cymbals and auxiliary percussion instruments. Smythe’s basso reiterations lead to a coda based on the second section. Then there is a gradual denouement, punctuated by long gong strokes and slithering bass register glissandos.

 

“Algid November” is the half-hour long centerpiece of Verisimilitude and is Sorey’s most ambitious piece for trio yet. Once again, the emphasis is on gradually morphing from one set of textures and playing demeanors to the next. The musical fabric consists at first of a prevailingly soft dynamic and slow tempo, one undergirded with big beats (never amorphous) that contains numerous angular feints and jabs from all three players. Sorey is a master at contrasting the resounding of instruments such as gongs and cymbals with the faster decay of drums and small percussion instruments; all interactions and decays are timed with precision. After a long period in which these juxtapositions are the focal point, Sorey performs at the drum kit with zeal, while Smythe and Tordini operate in a dissonant language of jagged filigrees.

 

A little less than halfway through, the piece moves from post-tonality to post-bop, with cascading arpeggiations from Smythe and walking lines from Tordini locked in a tight groove that Sorey simultaneously supports and overlays with contrasting elements. Just when one feels their toes tapping, the trio moves sideways in lockstep, back to the big beats of the opener but with a fuller overall texture. Rearticulated verticals, first low and then high, signal yet another change in direction. Smythe’s repeated notes pile up in an ostinato haze and Tordini grooves in still another timeframe while Sorey engages in lithe ornamentation. Two thirds of the way through the piece, a visceral build up leads to a huge crash of cymbals.

 

Afterwards, the musicians resume the slow tempo and fragile soundscape that began “Algid November.” Pitched percussion, quickly plucked bass melodies, and chiming piano lines give way to rattling reiterations from Sorey and Smythe. It is as if the big crash that signalled the piece’s climax is being allowed successive echos. Interpolations of the swing section, in tiny slices that last merely a breath or two, are juxtaposed with barbed jabs and intricately constructed rhythmic passages. Another gale storm threatens, then is subdued, devolving into muted piano notes and quietly reverberant gong rolls.

 

The final work on the CD, “Contemplating Tranquility,” opens with the same muted material that closed “Algid November.” Gongs and temple bells gradually coalesce into  a new, still slow, pulse stream of pitched percussion, toy piano ,and then grand piano. Glassy piano harmonies are pitted against reiterated soundings of the gong. Smythe gradually adds arpeggios in the low register to replicate the lowest sounding frequencies of the gong. Filling in the registers, Sorey suddenly switches roles, adding trebly unpitched percussion to the proceedings where there had been piano. Toy piano and pitched percussion engage in a duet that is joined by a low rumbling and then sustained upper register arco lines and a generous dose of harmonics from Tordini. Smythe begins to build verticals in a more harmonically conceived direction, buoyed by more consonance — even an octave here and there — from the bass player. As things converge around the low E string of the bass, Tordini then has some fun of his own, throwing in notes that rend the heretofore harmonically grounded passage asunder. While Sorey weaves sustained cymbal passages, pianist and bassist create a duet that ebbs and flows in an ever narrowing dynamic spectrum. Temple bells suggests a possible return to the more contemplative demeanor of the opening. Instead, it is a signal that the meditation is over. Thus ends Sorey’s Verisimilitude, Sequenza 21’s Best Recording of 2017.

 

Vijay Iyer: “Far From Over” (CD Review)

Vijay Iyer – Far From Over
ECM CD

Vijay Iyer Sextet
Far From Over
ECM 2581

Steve Lehman, Alto Saxophone;  Graham Haynes, Cornet, Flugelhorn, Electronics; Stephen Crump, Double Bass; Tyshawn Sorey, Drums;  Vijay Iyer, Piano, Electric Piano; Mark Shim, Tenor Saxophone

After successful outings for ECM in groupings ranging from duets (with Wadada Leo Smith) to a string quartet plus piano/electronics quintet, Vijay Iyer returns for his fifth recording for the label with a jazz sextet date, Far From Over. This time out, he dispenses with synthetic manipulations in favor of an old school resource: an electric piano. This plus concert grand are prominently featured, but by no means dominate the proceedings. Iyer affords his collaborators considerable latitude. Given the level of artists with whom he is partnering, this is a wise choice indeed.

Graham Haynes, in particular, is new to me and makes a forceful impression. His clarion parts on unison tutti, derby calls on the title track, and crackling electronics on “End of the Tunnel” impress both melodically and texturally. Altoist Steven Lehman supplies a formidably funky solo on album opener “Poles.” Recent MacArthur “Genius Grant” recipient Tyshawn Sorey gives a forceful master class in polyrhythmic drumming on the title track (and elsewhere). He and bassist Stephen Crump make an admirable rhythm section duo, in frequent dialogue yet also able to sustain simultaneous alternative pathways. The sextet may be the only jazz ensemble with two MacArthur grant holders – Iyer was previously awarded one as well. “Down to the Wire” features energetic soloing both from the pianist and tenor saxophonist Mark Shim, whose round tone and extensive range are put to good use.

The group as a whole tackles unison sections with enviably well-coordinated yet energetic performances. Far From Over is one of the most impressive jazz outings this year, from the standpoint of solos, collective offerings, and engaging compositions. Recommended.

Tyshawn Sorey’s Double Trio

pi65_500

The Inner Spectrum of Variables

Pi Recordings #pi65

featuring:

Composer Tyshawn Sorey’s latest recording is of a massive two-hour long suite for Double Trio. The Inner Spectrum of Variables finds Sorey conducting a group of longtime collaborators. Sorey has said that his approach to conducting serves as homage to Butch Morris, whose ensemble leadership was called “conduction.” He also contributes the percussion parts to the recording, ranging from textural excursions to thunderous swing.

Given its leader’s voluminous list of stylistic interests, it is no surprise that The Inner Spectrum of Variables is persistently eclectic. With four string players and a pianist in the mix, there is a great deal of opportunity for Sorey to explore his more classically-based approach to composition and improvisation. But the group can turn on a dime and play folk music seemingly from the world over, or get into a fluent post-bop groove. Despite the work’s considerable duration, the amount of quick changes of demeanor can be head spinning. That said, the return of discrete sections helps to provide an overarching structure that undergirds the proceedings. And unlike previous Sorey compositions, long swaths of lyricism abound here: an appealing addition to his already formidable compositional kitbag. Recommended.