Label: Pyroclastic Records, 2022
Personnel - Patricia Brennan: vibraphone; Kim Cass: double bass; Mauricio Herrera: percussion; Marcus Gilmore: drums.
More Touch is a courageous step and important record from Patricia Brennan, a wonderful vibraphonist who is rapidly becoming one of the most innovative on today’s contemporary jazz scene. The nature of her compositions gives the quartet the chance to stretch and test boundaries, and the musicians respond by adding a unique dimension to her creative vein. Brennan is seen shoulder to shoulder with a talented rhythm team: bassist Kim Cass, who is an expert in form, texture and groove; the skillful Cuban percussionist Mauricio Herrera; and Marcus Gilmore, an unreservedly modern drummer who surprises in every project he participates.
The rhythmically charged “Unquiet Respect” opens with a samba sequence, later given harmonic perspective with Cass’ groovy underpin and Brennan’s rapturous vibing work. Slightly bendable in pitch, her trance jazz dance from the outer space resulted from the mix of reggae and soca (a blend of African and East Indian rhythms) of her hometown of Veracruz, Mexico.
The title cut can be classified as a psychedelic electro ambient that gets polyrhythmically turbulent before the ending. Reserved but with a sophisticated intimate ambiance, “The Woman Who Weeps” is a modal-induced exertion whose strong spiritual connotation comes from its inspiration: the Mother of Sorrows (Mater Dolorosa).
Clocking in at nearly 15 minutes, “Space for Hour” is all about space, silence and atmospheric enchantment. Attentive listeners will detect ghostly moments, vamping grooves, impeccable rhythmic accentuation, and passionate improvs. The fascination created by the jazz harmonies and its fearless drive can also be heard on “El Nahualli (The Shadow of Soul)”, whose odd-metered theme Brennan defines with a great melodic sense. Having its immense percussive work as a consistent sustain, this piece emanates a strange warmth throughout.
Cass becomes an undertow of his own conscience during the explanatory bass intro of “Convergences”, as well as in the first part of “Robbin”, which firstly depicts silent snowy landscapes before expanding horizons with a rock-inspired texture that approves spontaneity. The quartet finalizes with the ritualistic “And There Was Light”, where the Batá drums, largely used in Cuba’s Santeria, is preponderant.
There’s nothing conventional here, with Brennan trailing a musical path that we very much urge you to explore.
Favorite Tracks:
01 - Unquiet Respect ► 03 - Space for Hour ► 04 - El Nahualli