Label: Esp Disk, 2020

Personnel - Mat Walerian: alto saxophone, bass clarinet, soprano clarinet, flute; Matt Shipp: piano; William Parker: double bass, shakuhachi, Hamid Drake: drums, percussion.

The Okuden Quartet is fronted by multifaceted woodwind player Mat Walerian, who reunites with frequent collaborators and masters in the art of rhythm and texture - pianist Matthew Shipp, bassist William Parker and drummer Hamid Drake. The word Okuden roughly translates to ‘communication of the inner arts’, and the present work, a double-album featuring eight Walerian compositions with an average time of 14 minutes, explores concepts that tend toward exploratory cadences and the spirit of the self.

With a gift for the surreal and evocative images, the record opens with “The Forest Council”, introduced by a mix of muted and woody bass sounds. The atmosphere here feels nearly alchemical, with the reverb-drenched tones of the bass clarinet sinking us more and more in mystical, enigmatic sounds. The instrument gets a special vibrancy in the hands of Walerian, who, at a certain point, relies on Shipp’s steady accompaniment - subdued until there with controlled string plucks - to draw dolorous outcries. Both Parker and Drake can perform with independence of movement; yet, their understanding of the music prevents things from going astray. The last phase is patterned like a ritualistic dance with flute in the foreground.

The raucous tone and angular finesse of the saxophonist is deeply ingrained in “Thelonious Forever”, which features Drake in a formidable drum solo. After that, Parker applies rasp dissonance in the course of his bass bowing while a saxophone ostinato lurches with abandon.

Rounding out the disc one, there's the extraordinary three-part “Magic World”. All three pieces seem taken from a generously filled bag of groove and rhythmic ideas, which can easily submerge the listeners with gripping sonics and volatile emotions. Part one - “Study” - offers a strange mix of brooding and upbeat vibes where the group seems to digress with no apparent direction in an instance, just to start swinging with method in the next. It’s a compromise between reflection and expansiveness, thrilling impetuousness and cautionary restraint. Part two - “Work” - feels like a ritualistic ceremony shrouded in low-intoned veils of sound. It’s propelled by a nice, flowing groove and has no problem attaching well-defined riffs when convenient. Part three - “Life” - boasts a funky rhythm and open posture. There are apprehensible melodies on bass clarinet and puzzling piano geometries crammed with rhythmic figures and curious accents. Walerian switches to alto saxophone, drawing melodies from the post-bop compendium, but later rejoins the groove for the conclusion, yet again wielding the bass clarinet.

Disc two is not as a strong as disc one but still provides some interesting moments. This is a long stretch, but fans will be willing to take the time to connect with the material and let these pieces sink into them.

Favorite Tracks:
03 (CD1) - Magic World Pt. 1 - Study ► 04 (CD1) - Magic World Pt. 2 - Work ► 05 (CD1) - Magic World Pt. 3 - Life