Label: Orenda Records, 2023

Personnel - Dan Rosenboom: trumpet, flugelhorn, quarter tone trumpet; Gavin Templeton: tenor and baritone saxophones; John Escreet: piano, keyboards; Billy Mohler: double bass; Damion Reid: drums.

Trumpeter, composer, producer, and record label owner Dan Rosenboom has been making an impression in the contemporary jazz, whether by leading his own projects - including the powerhouse jazz-meets-metal quartet Burning Ghosts - or collaborating with likes such as multi-instrumentalist Vinny Golia and trumpeter Jeff Kaiser.

His new album, Polarity, is a jewel of intensely played music and interactive creativity performed with openness and edginess in the company of a top-notch quintet. The idea for this album came out of the Boom Sessions (Orenda, 2022), which sonically captured five concerts at ETA in Highland Park, Los Angeles. Polarity was produced by Justin Stanley, who worked with Prince, Beck, Leonard Cohen, and Paul McCartney.

The collectively composed 19-minute epic “The Age of Snakes” exhibits extended improvisatory chops within a mercurial temper. The lazy bass groove delivered by Billy Mohler, the ambient chordal loops of keyboard wizard John Escreet (occasionally morphing into cascading sequences), and the thoughtful drumming of Damion Reid, sustain the feisty unison lines thrown in by Rosenboom and saxophonist Gavin Templeton. Following the steps of the bandleader, who speaks clear and pure as limpid water, Escreet flies high, sweeping the keyboard acrobatically in a Herbie Hancock-style. Rhythmic and harmonic deconstruction is part of the job, and then we have a freedom-filled tenor solo over stirring drum work. At some point, the group seems influenced by electronica through several synth effects and a trance-like pedal pulse, while the horns keep wandering over chromatic bass movements. A final funky groove leads us to the wrap-up.

The piece that follows, “A Paper Tiger”, is equally impressive as it imposes a frantic rhythmic motion with stupendous melodic angularity atop. The individual excursions from trumpet, sax, piano and drums are as energetic as they are spontaneous. “Walking Shadows” and “Ikigai” demonstrate the group’s command of tempo and accentuation. Yet, they attest that virtuosity is not indifferent to engaging melody.

Following an identical structure and order of solos, “War Money” and “Minotaur” work like a modern swinging orchestra with modal infusions and fervent, darker tones dictated by Templeton's robust baritone sax. The former piece includes inspired piano expressiveness and acute trumpet dispute, whereas the latter has Escreet brilliantly laying down a different rhythm over the texture.

The rapport and interplay between these musicians is outstanding, and the music leaves space open for each of them to shine.