Label: 577 Records, 2021

Personnel - Leo Genovese: piano; Sean Conly: acoustic bass; Francisco Mela: drums.

Sean Conly, a coveted and probing avant-garde jazz bassist, not only has been an important piece in projects led by saxophonists Darius Jones and Gregory Tardy as well as pianists Mara Rosenbloom and Johannes Wallman, but also has forged his path as a leader, usually in the company of altoist Michael Attias, a frequent collaborator.

The Buzz marks his debut on the Brooklyn label 577 Records, and features two new musical partners who have played/recorded many times together before: the Argentinian pianist Leo Genovese (Esperanza Spalding, Leni Stern) and the Cuban drummer Francisco Mela (McCoy Tyner, Joe Lovano).

The album's first two tracks, “The Jake Leg” and “Good Idea”, share the same thematic concept centered on a strong melodic expression that repeats as the views expand with generous openness. Following an elusive form that consolidates composed ideas and texture-minded improvisation, the trio nearly swings on the former piece, whereas on the latter we hear Conly speaking confidently and engaging with Genovese in synergistic agreement.

There are sliding intervallic bass motions that go well with Mela’s Latin-tinge drumming on “In the Stretch”, where, at a later time, bass and piano assume absolute control of the rhythmic emphasis with congruous low-pitched tones. As is the case here, Mela also brings his percussive work to the fore on “From C to Sea”, a lilting, animated piece with a bass statement upfront.

Conly, Genovese and Mela are here to support each other; and “The Buzz”, which emulates the verve of living in New York City, validates that notion. Nonetheless, it’s Genovese’s bold piano playing that stands out on this one.

“Sweetie Pie” is candidly narrated with a little vulnerability lurking around the edges, but the prize for the most beautiful sound goes to the concluding track, a rendition of Stephen Sondheim’s 1973 ballad “Send in the Clowns”.

The Buzz doesn’t transcend nor disappoints. Its pieces may not immediately catch our senses but repeated listenings allow us to locate more signposts of tension and release, pushing us to better interpret the trio’s highly intuitive form of playing.

Favorite Tracks:
03 - In the Stretch ► 07 - Sweetie Pie ► 10 - Send in the Clowns

Label: Clean Feed, 2018

Personnel - Michael Attias: alto saxophone; Sean Conly: acoustic bass; Satoshi Takeishi: drums.

Sean Conly had his first electric bass at the age of 13. At that time, he couldn’t imagine he would become a respected bandleader and sought-after sideman, establishing unfading foundations in groups led by Anthony Coleman, Greg Tardy, Michael Attias, Yoni Kretzmer and Mara Rosenbloom.

With Hard Knocks, his second work for the progressive Clean Feed label, he plunges into a set of six modern jazz compositions penned for his powerhouse, chord-less trio composed of longtime comrades Michael Attias and Satoshi Takeishi, alto saxophonist and drummer, respectively. Expanding their actions beyond tradition, the trio sets that special, interactive mood that is only possible when the rapport among the involved is strong enough.

The title track unfolds with a variety of rhythmic accents (knocks, if you prefer) and a fine groove. It’s a well-crafted, well-structured, metrically astute piece that takes us to Sam Rivers’ spins. Exploration is undertaken individually when Attias extemporizes thoughts over a profuse swinging vibe locked by bass and drums. After him, it’s Conly who carefully groups selected notes to form consistently bright phrases.

Gradually built in layers, “Totem” kicks off with the attractive timbres of Takeishi’s percussion. We don’t have to wait too long for the saxophonist to join with a sinuous Eastern-influenced phrase carrying an occasional vibrato. Lastly, the bassist sneaks in to lead his gang toward an energetic rock-tinged flux in six.

“Skippin’ Town” is immersed in those avant-garde waters once agitated by Dewey Redman and Ornette Coleman. It features not only an enthusiastic swinging section underpinning the sax solo, but also a reiterative odd-metered bass groove on top of which Takeishi creates with freedom.

The trio’s keen sense of tempo is obvious on “Loose Screws”, a blues-based piece crafted with high melodic articulation and shifting rhythms, whereas on “Artefact” they probe textural definition and intensity of playing. The band starts by forming a dense, stormy sonic cloud that thunders with fierce saxophone growls and multiphonics before being pacified by disruptive drum chops, a leisurely steady bass motion, and gentle sax melodies infusing a mix of light and dark tonalities.

Devised as a sort of meditation, “Undertow” is introduced by the bandleader with tranquil assurance and lapidary clarity. After the theme’s statement, he shows an improvisational vein with the support of the percussionist’s shimmering brushwork. The unhurried pace is then set without losing a bit of coordination. There is a strong spell of Mingus’ “Goodbye Pork Pie Hat” in the tune’s spacious atmosphere and melody.

Great hooks occurring with incredible ease, groove-centric ideas that can absolutely swing, and an unshakeable sense of unity are all good motives for you to dig Hard Knocks.

Favorite Tracks:
01 - Hard Knocks ► 02 - Totem ► 03 - Undertow