Label: Astral Spirits, 2022

Personnel - Brian Settles: saxophone; Neil Podgursky: piano; Chad Taylor: drums.

The multifaceted drummer Chad Taylor, who proves to be as much virtuosic as practical in his chops, returns with his bass-less trio - featuring saxophonist Brian Settles and pianist Neil Podgursky - for a sophomore album whose program is a jewel. As a sideman, the drummer has been contributing to some of the most compelling projects by the Chicago Underground Quartet, saxophonists Avram Fefer and James Brandon Lewis, and bassist Eric Revis, just to name a few.

He brings two of his own compositions into The Reel, one being the title track, a piece in five with a rubato piano-driven passage and a folk inflection that makes us think of Keith Jarrett’s excursions; and the other “Julian’s Groove”, which makes a fine turn into an Afro-Cuban rhythm so blithe as to be ravishing.

The amazing teamwork between the trio members is here for anyone to declare true, and you’ll find two incredible renditions of tunes by the immensely influential pianist Andrew Hill that are illustrative of that. “Subterfuge”, for example, brings a subtle Latin touch to Hill’s hypnotic modal jazz; it's a narratively strong number where Podgursky combines lush voicings and single-note phrases with dexterity. Boasting an alluring timbre, Settles is assertive in his statement, letting the ideas flow with freedom, whereas Taylor expands his language during four-bar exchanges with his associates. The other piece, “Reconciliation” - a gem first included in the 1964 Blue Note album Judgment! - relies on a boppish language with some delightful angularity, benefiting from the ever-sensitive drumming of the bandleader, whose classy brushwork shows the way for qualified solos from Settles and Podgursky.

Whereas the saxophonist contributes only “Moon Tone Shift”, pivoting to a more sober mood with parallel lyricism on top of Taylor’s elemental vitality, the pianist penned four of the nine tracks on the album. The highlights are “Delta”, with its disarmingly expressive melody, as well as the beautifully accented “Omniverse”, which closes out the session as an artier model centered on post-bop sophistication. Here, the racing melodies go up and down the hill with intervallic wisdom and impeccable drumming on the side.

What’s more striking is that there are no weak moments on The Reel, an album that holds one’s interest on account of emotional honesty and a refreshing musical imagination made with a mix of complete unpretentiousness and necessary complexity. The members of this trio, not being radically different in their tastes and approaches, are definitely on the same page.

Favorite Tracks:
01 - Subterfuge ► 02 - Delta ► 09 - Omniverse

Label: Palmetto Records, 2022

Personnel - Fred Hersch: piano; Drew Gress: bass; Jochen Rueckert: drums; Rogerio Boccato: percussion (#6) + Crosby Street String Quartet - Joyce Hammann: violin; Laura Seaton: violin; Lois Martin: viola; Jody Redhage: cello.

Acknowledging string quartet as a natural configuration for him, the pianist/composer Fred Hersch puts out Breath By Breath, a well-rounded set of sensitive music that seamlessly integrates his jazz trio - featuring his long-time collaborator Drew Gress on bass and the recent associate Jochen Rueckert on drums - and the harmonious strings of the Crosby Street String Quartet.

The eight-part Sati Suite, inspired by his meditation practices, starts with “Begin Again”, which flows relentlessly with dramatic and poignant tones during the reflective theme; then radiates optimism during a piano solo that shows the quality of his language. The signature meter shifts to 5/4, proposing a delicate Latin touch before a brief passage infused by strings. This metric rhythm is also found in the suite's concluding part, “Worldly Winds”, a pulsating treat that, living from vivid impulses and counterpoint, reveals a strong classical lineage.

Predominantly introspective, the songs often combine silken tones with sparkling chops, and both “Awaken Heart” and “Breath by Breath” are two notable examples of these quiet inflections. The former, solemnly cinematic in the [pizzicato/bowed] strings introduction, definitely awakes for passionate and emotional piano playing; the latter, recalling a chorale, thrives with a thoughtful bass solo, pondered brushwork, and inspired string fills adorning the piano statement. The richness of the arrangements is also visible in the waltzing “Rising, Falling”, which works closer to the Bill Evans template. A bit less obvious is “Monkey Mind”, whose interactive delineation is committed to explore beyond what is expected.

On the singular “Mara” - titled after the god who tempted Buddha with wine, women and wealth - the ensemble jells into a gently percussive flow in six that evokes Eastern atmospheres. The Brazilian percussionist Rogerio Boccato guests on this immutable foundation over which Hersch churns out subtle melodic shadings before concluding with entrancing chordal movements. Not affiliated with the suite, “Pastorale” is Hersch’s homage to the German classical composer Robert Schumann, warmly put together with a bolero-ish throttle.

Serving as a catalyst to creativity, this intimate musical experience shows the prolific pianist working in an infrequent context with the same personal voice.

Favorite Tracks:
01 - Begin Again ► 06 - Mara ► 08 - Worldly Winds