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Born in Paterson, New Jersey, in 1970, having played alongside William Parker and and being responsible for the reintroduction of the inimitable Giuseppi Logan a few years ago, Matt Lavelle directs this valuable work, recorded in November 2014, an ensemble of sixteen elements denoting, in the first instance, a vaguely mingus-like approach (with all Lavelle themes) beginning with a rather excitedly flowing tenor sax solo. Soon after, however, comes an exquisite chamber interlude of flute/vibes/arco bass that disrupts our initial expectations.
It goes something like this for the entire disk, including crescendo and decrescendo, a new tenor solo vehemently grafted on the intermittent orchestral body (“Brooklyn Mountain”), then the voice, though producing quite different temperatures, purpose and articulation ( “Knee Braces”), reiterated by the excellent violin solo that followed, laying on plastic and calibrated orchestral strokes.
The receiver Lavelle is thenthe main protagonist in “Cherry Swing,” followed by spicy banjo,which is evidentNot negligible throughout the entire album, and bassoon, which, in short, is quite unusual in “Moonflower Interlude,” and then piano, with traces of classicism, in the much larger “Faith” that seals the work in the sign of a happy closing tension, .
Track Listing: Solidarity; Brooklyn Mountain; Knee Braces; Cherry Swing; Moonflower Interlude; Faith.
Personnel: Matt Lavelle: cornet, flugelhorn soprano, alto clarinet, run; Lee Odom: soprano sax, clarinet; Charles Waters: alto sax, clarinet; Ras Moshe Burnette: saxophone (tenor and soprano), flute, bells; Tim Stocker: saxophone (baritone), bass clarinet; Mary Cherney: flute, piccolo; Claire de Brunner: bassoon; Laura Ortman: violin; Gil Selinger: cello; Anders Nilsson: Guitar; Jack DeSalvo: banjo, mandola; Chris Forbes: piano; John Pietaro: vibraphone, percussion; François Grillot: bass; Ryan Sawyer: Battery; Anaïs Maviel: voice.
Year Released: 2016 | Record Label: Unseen Rain Records | Style: Modern Jazz
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