Label: Diskonife Records, 2020
Personnel - Peter Hess: tenor saxophone; Brian Drye: trombone; Adam Hopkins: double bass; Tomas Fujiwara: drums.
In parallel with his projects as a leader, American saxophonist/composer Peter Hess is a member of the Philip Glass Ensemble since 2016 and an active participant in several small jazz groups and large ensembles. On his new quartet album, Present Company, he forms a strong alliance with trombonist Brian Drye in the frontline and assures a solid foundation by picking out bassist Adam Hopkins and drummer Tomas Fujiwara for the rhythmic chores.
“Sanford Theme” - titled for saxophonist Mike McGinnis who hails from Sanford, ME - is marked by a swinging forwardness and amusing melodies articulated in unison. The open solo section is designed by Drye and Hess with melodic intention, and both become contrapuntal before ultimately switching to concordant during the theme’s final stretch.
“Ring Tone” plays pretty much in the same context of its predecessor, hewing closer to classic post-bop, which is by no means more interesting than “Echolocation”, where things start to click and engage. The piece, inspired by drummer Ed Blackwell’s free jazz albums from the 90s: What it is? and What it be Like?, kicks in with saxophone multiphonics against a trombone ostinato. An uncompromising groove in seven is established over which the soloists communicate with a natural flow.
The identity of the ensemble is forged with pertinacity but there's obviously other musical influences. “Engines”, for example, was written for the drummer Paul Motian when he passed away, giving a notion of his meditative stasis through subtler tones. Fujiwara’s complex introduction and subsequent perplexing pulse don’t remove the serenity and sense of openness deliberated for this composition, which becomes slightly more agitated before the restitution of the main theme.
Resulting from two different short pieces put organically together, “Komma” stands out with a galloping rhythm that endorses effervescent cymbal drive and rolling toms. An unceremonious soulfulness comes out of Hess’ horn with Drye providing terse interjections. At some point, we have the two juxtaposing lines and responding to deliberate provocations. Sometimes they go with each other, then they stand apart to give the ensemble more breadth. Whatever the case is, the saxophonist unfolds his phrases with perspicuity, while the trombonist shows off quick, piercing attacks.
Hopkins sets the mood of “The Net Menders” with a beautiful intro, later bowing for further emotional depth. This melody-driven ballad, inspired by a lo-fi piano recording sent to Hess by his friend Jesse Poe for a film score, precedes the last track on the album, “When to Move”, an improvised number delivering a modest punch.
Chasing both contemporary post-bop ideals and free improvisation, the musicians are apt to turn up the heat on occasion.
Grade B
Favorite Tracks:
03 - Echolocation ► 05 - Komma ► 06 - The Net Menders