Label: Intakt Records, 2019
Personnel - Angelika Niescier: alto saxophone; Chris Tordini: bass; Gerald Cleaver: drums + guest Jonathan Finlayson: trumpet.
German alto saxophonist Angelika Niescier is based in Cologne but firmly connected with the New York improvisational scene through projects like the NYC Five and New York Trio. Her new album on the Intakt imprint, precisely called New York Trio, is a natural follow-up to The Berlin Concert, whose release coincided with her earning of the prestigious Albert Mangelsdorff prize for jazz excellence. Niescier, who drew inspiration from John Cage, is rhythmically backed by bassist Chris Tordini, a longtime associate, and probes the drumming talents and stirring sounds of Gerald Cleaver, who occupies the chair formerly occupied by Tyshawn Sorey. The steadfast trumpeter Jonathan Finlayson joins the trio on selected tracks, broadening the melodic options and empowering interaction in the frontline.
The session’s volcanic inception couldn’t have had a better title: “The Surge”. The knotty rhythms and crisp accents invite Niescier’s garrulous blows, aptly expanded with a peculiarity in timbre and plenty of elasticity. She finds the pair Tordini-Cleaver set in stone back there, and after aesthetic unisons, it’s the drummer who pitches in, delivering an effusive solo when Finlayson was expected next. The latter eventually sneaks in with a sportive attitude, placing his uncompromising thoughts over Cleaver’s pressurized actions.
The trio communicates in fluid counterpoint on the invariably tense “Cold Epiphany”, whereas the open designation of “…ish” presents many possibilities for a word resolution, including some obvious ones such as swing-ish or Ornette-ish. There's visceral swinging excitement, with the robustness of well-nourished phrases promoting this rumpus.
Much more meditative and nearly reaching the classical domain, “Ekim” reveals an egalitarian sense of give-and-take with Niescier and Finlayson contributing weightless trills during each other’s proceedings. Their approaches are quite opposite for the sake of the music. The saxophonist is raw, vibrant, and impulsive; the trumpeter is rational and often erudite in his melodic exposition. They deliver again on “Push Pull”, which boasts that irresistible rhythmic thrust that every free jazz musician validates without blinking. The tune ends with long unison notes, in a more dispassionate environment.
“5.8”, an unfettered yet rhythmically locked-in exercise designed with a busy motion, has Cleaver punching upfront, preparing the unbending, asymmetric groove to be held by Tordini. The musicians’ chemistry is on display and the rewards are undoubtedly there for the adventuresome.
01 - The Surge ► 05 - Push Pull ► 07 - 5.8