Label: Greenleaf Music, 2022
Personnel - Dave Douglas: trumpet, voice; Berlinde Deman: serpent, tuba, voice; Marta Warelis: piano, pump organ; Frederik Leroux: guitars, lute, electronics; Tomeka Reid: cello; Lander Gyselinck: drums, electronics.
Trumpeter, composer and bandleader Dave Douglas belongs to a group of state-of-the-art thinkers whose music, whether largely progressive or completely immersed in tradition, is unfailingly effective. Besides his widely acclaimed post-bop excursions, further conceptual albums have been put together with quirky instrumentation, and Secular Psalms is another wonderful addition. Featuring an appropriate supporting cast, this new opus was inspired by art of the 15th Century, namely, Jan van Eyck’s Ghent Altarpiece and some secular hymns by Franco-Flemish composer Guillaume Du Fay.
The opening piece, “Arrival”, plunges into a contemplative dark-hued mysticism that, at the same time that invites us to search, prepares our ears for what comes next. Playing at the center, the trumpeter is briefly joined by Belgian guitarist Frederik Leroux, who infuses non-aggressive distortion during the interesting groove that follows. “Mercy” cooks up with a deft combination of erudition and nerve that exemplifies Douglas’ abilities to shake mainstream values. The texts on this one, earnestly sung by the tubist Berlinde Deman, are by Marvin Gaye, the Latin Mass, Psalm 59, and the bandleader. For its part, “We Believe” is a darkly lyrical effort with lute, organ and muted trumpet.
The opening trio of songs is stupendous but other standouts eventually surface. Among them is “Instrumental Angels”, whose asymmetric postmodernism is not devoid of glittery harmony. There's also the shadowy waltz “Hermits and Pilgrims”, which starts off with the beautifully intriguing cello sounds of Tomeka Reid in company with pump organ by Marta Warelis. The latter is featured here as a soloist, as well as Douglas, who builds lines with a tasteful feeling.
With slow waves of sadcore and goth rock, “Ah Moon” appealed more to me than “If I’m in Church More Often Now”; both include texts by the medieval Italian poet Christine De Pizan. The album concludes with “Edge of Night”, where Douglas’ optimistic text surfaces from an overall uncanny ambience.
Sculpted with total commitment and artistic imagination, this richly layered offering is far from your traditional jazz record, but deserves to be singled out for the musical characteristics achieved.
Favorite Tracks:
01 - Arrival ► 02 - Mercy ► 05 - Instrumental Angels