Nasheet Waits Equality - Between Nothingness and Infinity

Darius Jones: alto saxophone; Aruan Ortiz: piano; Mark Helias: bass; Nasheet Waits: drums.

nasheet-waits-equality-between-nothingness-infinity

Reinforcing his credentials as a bandleader, Nasheet Waits, an impressive drummer from New York, releases a stimulating album on the French label Laborie Jazz.

The percussionist has a flair for straight-ahead jazz and avant-garde categories but moves with equal confidence in post and neo-bop styles. Past collaborations include Antonio Hart, Mark Turner, Andrew Hill, Fred Hersch, David Murray, Jason Moran, and Steve Lehman, while more recently, his groundbreaking drumming techniques were put at the service of Logan Richardson, Miroslav Vitous, Avishai Cohen, Tony Malaby, and Ralph Alessi.

In his new album, philosophically entitled Between Nothingness and Infinity, he leads the completely renewed quartet Equality, which comprises high-caliber artists such as alto saxophonist Darius Jones, pianist Aruan Ortiz, and bassist Mark Helias. They replace Logan Richardson, Jason Moran, and Tarus Mateen, respectively, who were in the recording of Infinity (Fresh Sound New Talent) in 2008.

Waits’ “Korean Bounce” couldn’t be a more exciting opening, boasting an exuberant pulse that works as a recipient for Ortiz’s timely piano voicings and Jones’ rugged saxophone lines, intentionally imbued of Oriental flavor.

Helias’ “Story Line” flows through African-tinged percussive spells. The theme statement is supplied in unison by sax and piano, and the riveting improvisations make us alert at all times. Jones, whose slightly dissonant contortions are never gratuitous or frivolous, proves he’s a quick-witted explorer while Ortiz’s rhythmic sense and levels of inventiveness thrust him into the limelight of modern pianism.

An uncanny dark mood envelops the title track, a solemn piece composed by the bandleader to be performed by piano trio formation. It opposes to the Parisian charm of Andrew Hill’s “Snake Hip Waltz” whose bohemian feel is instantly absorbed. The amiable melodies blown by Jones, who opts for a post-bop language, encounter Ortiz’s titillating voicings. The pianist’s movements demand clever and intuitive responses from Waits, who nails it.

In Sam Rivers' “Unity”, you’ll find Jones and Ortiz dialoguing over a well-heeled bass-drums incitement while Nasheet is breathtaking on toms and cymbals.
Envisioning a diversity of pace and color, the quartet delivers “Kush”, a leisurely waltz that recalls Bill Evans, and Parker’s “Koko”, which has sufficient rhythmic variations to sound fresh. In the latter, Waits follows Ortiz’s piano mosaics, carrying his chattering percussive vibes before Helias embarks on a frantic walking bass that seems to ask for bebop scales, a request that Jones immediately refuses, engaging instead in an alternative and more interesting soloing concept with a focus on timbre.

Nasheet Waits unwraps an extraordinary body of work that serves as a showcase for his vibrant driving grooves and impeccable compositions. This is a hidden treasure that every fan of contemporary jazz should look for. Another highlight of the year.

Label: Laborie Jazz
Favorite Tracks: 
01 – Korean Bounce ► 02 – Story Line ► 07 – Koko