Erik Friedlander - She Sees

Label: Skipstone Records, 2023

Personnel - Erik Friedlander: cello; Ava Mendoza: electric guitar; Stomu Takeishi: electric bass; Diego Espinosa: percussion.

She Sees, the second studio album by American cellist Erik Friedlander’s Sentinel - originally a trio and now a quartet - clearly leans on muscular rock while moving in mysterious ways. Driven by genre-fusing ardor, the group welcomes Japanese bassist Stomu Takeishi - he collaborated with Friedlander on fantastic albums such as Topaz (1999), Quake (2003), Prowl (2006) and Ring (2016) - who joins the core trio completed by Brooklyn-based avant guitarist Ava Mendoza and Mexican percussionist Diego Espinosa.

“Baskets, Biscuits, Rain” follows a typical anthemic rock song format but suggests a propulsive swinging feel through the dynamic bass. The quartet gets lean on “Wit & Whimsy”, which sounds like classic arena-rock, and sinewy on “Heatwave”, a fusion piece with excellent command of tempo and tone, and enlivened by an inner/outer travelogue delivered by Friedlander. The cellist, who recently underwent Deep Brain Stimulation to fight Parkinson’s disease, appears here as fit as a flea. 

“Tremor, Blink” is funk-rock rapture. Cello and guitar are seen partially in tandem to create a sort of contrapuntal effect, whereas “Sliding” focuses on a gutbucket jazz n’ bluesy style redolent of Tom Waits. In turn, “Summit” explores the pop genre with cello pizzicato and a reverb-drenched guitar solo with distorted contrails. Mendoza is also impressive on “Ache, Air”, championing a jangling funky rhythm contraction with punk-rock attitude. 

If the engrossing “Rush. Rush Slowly” is treated with ethnic intrusions and Eastern tangents, then “Soak! Soak!” and the closer, “Moneycake: Corrupting”, are pinned with stylish riffs. The former develops with a three-time feel, while the latter gets under way in seven, changing meter signatures en route. 

Adding warped sounds to its rock-steeped temperament, this new Sentinel disc falls well behind the group’s debut album (2020), but deserves some support for its bold sounds and explorative intrepidity.

Favorite Tracks:
06 - Ache, Air ► 07 - Sliding ► 10 - Moneycake: Corrupting

Erik Friedlander - A Queens' Firefly

Label: Skipstone Records, 2022

Personnel - Erik Friedlander: cello; Uri Caine: piano; Mark Helias: bass; Ches Smith: drums.

Erik Friedlander is a resourceful New York-based cellist and composer with a one-of-a-kind style. His tremendous versatility makes him play avant-garde jazz, post-bop as well as chamber and world-influenced music with the same brilliancy and passion. Hence, collaborations in many different contexts with such greats as John Zorn, Dave Douglas, Marty Ehrlich, Wadada Leo Smith, and Fred Hersch, are not a surprise. 

If his previous outing, Sentinel (a trio effort with guitarist Ava Mendoza and drummer Diego Espinosa), was an agreeable breathe of fresh air, then this new recording, A Queens’ Firefly, pushes the envelope, working as an expansion of his 2018 album Artemisia. The cellist spearheads a fabulous quartet, The Throw, featuring pianist Uri Caine, bassist Mark Helias and drummer Ches Smith.

The title cut floats like a cloud, beginning a musical journey that unfolds with fascination. There’s a jazz and pop music lightness to it, with Helias, Caine and Friedlander proffering lovely solos. The following number, “Match Strikes”, defies that tranquility as the group charges with rhythmic boldness and intelligent counterpoint. The catchy propulsion here conveys both depth and urgency.

The groovy “Chandelier” adopts a crisp seven-note bass figure as its glowing carpet, whereas the gracefully orchestrated “Glimmer” goes from a well-intoned cello introduction (suggesting contemporary classical musing) to a 3/4 pop-rock drum flow, and then to tranquilizing balladic expressions. Groove and modulation are detectable, and the piece acquires a fusion adventurism. A similar impression appears on the rocking “The Fire In You”, which serves as the album’s closing track.

Friedlander keeps the pocket wide on “Aurora”, a transfixing cut where the group indulge in avant-garde freedoms. With its excellent theme and odd meter, the piece plays like a folk-rock dance from a distant world. A Queens’ Firefly is an exciting album in many ways, and Friedlander’s fantastic compositions seemed to have encouraged his cohorts to play them with gusto.

Favorite Tracks:
02 - Match Strikes ► 04 - Glimmer ► 06 - Aurora

Erik Friedlander - Sentinel

Label: Self released, 2020

Personnel - Erik Friedlander: cello; Ava Mendoza: guitar; Diego Espinosa: drums, percussion.

erik-friedlander-sentinel.jpg

American cellist Erik Friedlander, a key figure in the New York’s Downtown scene for years, showcases his rich tones on a program where he puts an eclectic, contemporary spin on eight original compositions. Admirably assisted by the intense slabs of Ava Mendoza’s electric guitar, and the rhythmic sensibility of Mexican multi-percussionist Diego Espinosa, Friedlander managed to confer an unexpected dimension to the music. Although the members of Sentinel had never played together before, the results are at once fascinating and provocative, corroborating the bandleader’s description of the project as a ‘garage band for 2020’.

“Flash” opens the album by carrying an ostinato at its core and providing an eventful narrative mastered with thrilling edginess, powerful energy and epic contours. Subtly, the bandleader gives the listener a sense of his jazz and classical perceptions, and the elements drawn from these scopes are gracefully torqued by the liberating indie-rock muscularity of Mendoza’s distortion.

At the start, “Glow” is streamlined by chimes, jazz guitar chords with colorful extensions, and cello cries. The theme, leaning on the pop/rock genre, shapes up into a strange waltz with worthy spots for the individual creativity of the threesome.

The relaxing Americana on “Feeling You” also suggests a good-natured pop-ish feel during the proceedings. Agility, punctuation and intension come from Friedlander’s down-to-earth plucking technique, with the trio seeking to create some more frisson at a later stage through expressive rhythmic nuances that anticipate the conclusion.

Offering more than sharp concord and synchronicity, “Foozle” makes our hearts pound faster through a heavy, polyrhythmic fusion marked by robustness and elasticity. The energy of rock from the 1970s is not surprising here, if we take into account the admiration that Friedlander nurtures for the music of Jimi Hendrix, Led Zeppelin and Yes, as well as the electrifying deconstructions and experimentalism that Mendoza vouches for. 

The languid “Ripleyisms” verges on the blues rock, whereas “Awake”, also unhurried yet a bit more interesting in terms of tone and ambiance, places a catchy, grungy ostinato at the center. From here, a diligent workout defines the harmony and strides alongside the pulse.

The aching lyricism and gripping cadences of the cello combine with the off-center rebelliousness of the guitar and the rhythmic pulsation of the drums to deliver structurally simple and technically superb musical moments. The quality of sound is equally remarkable. 

Grade A-

Grade A-

Favorite Tracks:
01 - Flash ► 02 - Glow ► 07 - Awake

Erik Friedlander - Rings

Erik Friedlander: cello; Shoko Nagai: piano, accordion, electronics; Satoshi Takeishi: percussion.

Erik Friedlander is a multifaceted cellist and composer based in New York City who is not afraid of setting foot on different styles and moods. With last year’s “Oscalypso”, recorded with a sturdy quartet (Michael Blake, Trevor Dunn, and Michael Sarin), he made an incursion on pure bop territory with reinterpretations of nine emblematic compositions from the bassist Oscar Pettiford, a confessed influence. “Rings”, in turn, marks a welcoming return to a much more appealing creative freedom, mixing the incantations of the world music, the gallant tones of the modern classical, and the unexpectedness of the avant-garde jazz. 
“The Seducer” is truly a seductive piece that sumptuously takes us to distant worlds through a fulfilling combination of weeping cello, conversational accordion, and the motivating percussion. 
In the contemplative “Black Phebe” I can see a train of camels crossing the desert at the same tranquil pace this song moves. Provocatively playful, “A Single Eye” proves to be suitable for an animated movie. In turn, “Fracture” is an affectionate ballad that transpires sentiment, opposing to “Risky Business”, one of those festive tunes played at Oriental weddings. 
There are a few atmospherically calm tunes that touch the abstract, and one of them, “Canoe”, gets eerie outlines with the addition of electronics. One is able to sing “Small Things”, a cantabile pop tune driven by Friedlander’s plucking cello and filled with Nagai’s melodious accordion. Great is the levitating aura of “Flycatcher”, which features a great cello work by Friedlander peppered by Takeishi’s contagious rhythms, and the rapturous sounds of Nagai, who stands out with a terrific unaccompanied piano solo.

Favorite Tracks:
01 – The Seducer ► 02 – Black Phebe ► 11 – Flycatcher