Label: Blue Note Records, 2024
Personnel - Ethan Iverson: piano; Thomas Morgan: bass; Simón Wilson: bass; Kush Abadey: drums; Vinnie Sperrazza: drums.
The second Blue Note output by pianist and composer Ethan Iverson, titled Technically Acceptable, showcases his artistry in two exhilarating trios alongside emerging talents. Devotees of Iverson's music are well aware of his ability to infuse tradition with a modern touch, whether crafting an original composition or interpreting a classic standard. His style here, drawing from various epochs in jazz history, demonstrates a renewed assurance in dealing with rich melodies and sublime harmonies.
The first seven tracks feature bassist Thomas Morgan and drummer Kush Abadey. The trio starts with the enticing “Conundrum”, an introductory bait with firm rhythmic accentuation, ample harmonic power, uplifting melody, and some classical nuances towards the conclusion. As a Brubeck-inspired piece, “Victory is Assured (Alla Breve)” introduces a rare moment of levity, bracing the listeners for an empathetic rhythmic quality that evokes Kansas City blues.
“Technically Acceptable”, a soulfully swinging hard-bop-infused composition, echoes in the pocket with the coolest of tempos. Here, Iverson’s unequivocal lines wiggle joyously over the rhythm changes in the form of fluid phrases and motifs. “The Way Things Are”, at some point, recalls “I Get a Kick Out of You”, while “It’s Fine to Decline” sees the trio switching gears as they opt for a lilting avant-garde setting that echoes the pianistic sensibilities of Jaki Byard, Mal Waldron, and Herbie Nichols.
The collaboration with bassist Simón Wilson and drummer Vinnie Sperrazza yields exceptional results, especially evident in two covers: a stripped-down, captivating rendition of “Killing Me Softly with His Song”, and a nuanced, epic interpretation of Monk's “Round Midnight”, featuring an impressive theremin melody, courtesy of pianist Rob Schwimmer. You’ll find ethereal moments of spectacular tonal range on this one.
The album concludes with a solo three-movement piano sonata. It’s an outstanding through-composed work with inventive etudes in style, showing off Iverson’s mastery on the keyboard. “Piano Sonata: Allegro Moderato” is audacious in tempo and imbued with bluesy chops and stride jazz; “Piano Sonata: Andante” is delicately crafted and confidently paced; while “Piano Sonata: Rondo” presents a classical conception but with a heap of surprising twists.
Iverson's adept navigation of various stylistic approaches and transitions within the program reinforces his status as a strong-willed artist whose musicality has only deepened over time. The album's significance lies in his fascinating blend of discipline and freedom.
Favorite Tracks:
06 - It’s Fine to Decline ► 09 - Round Midnight ► 11 - Piano Sonata: Allegro Moderato