Label: ECM Records, 2021

Personnel - Marc Johnson: double bass.

Marc Johnson is a virtuoso of the bass whose immersive touch and tone are remarkable. The beauty and intensity of his playing made him a first-call sideman in projects of Stan Getz, Bill Evans, Peter Erskine, Gary Burton, John Abercrombie, Paul Motian, Joe Lovano and John Scofield, just to name a few. His peak as a leader was reached in the mid-1980s with the super quartet Bass Desires, but now he reaches new heights with his first solo album, Overpass, recorded in São Paulo in 2018.

Of the eight compositions that define the program, five are originals by the bassist and three are interpretations of classic jazz tunes. Johnson opens the record with two covers: Eddie Harris’ “Freedom Jazz Dance” is rendered with the sheer propulsion of its buoyant pedal-groove and the flawless articulation of the theme plus improvised segments. It is immediately followed by Miles Davis’ “Nardis”, a special tune for Johnson who played it with Bill Evans in the early 80s. Here, he explores the poetic possibilities of his instrument, finding an edgy refinement to the song that is completely engrossing.

There’s also a sublime take on “Love Theme From Spartacus”, whose slow, rubato tempo increases its weightlessness and deeply felt lyricism. But before that, the Eastern-tinged “Samurai Fly” creates impact with the timbre-filled appeal of arco bass overdubbing on top of a sturdy pizzicato. This is a rework of “Samurai Hee-Haw”, one of his most known compositions and opener of his tour-de-force 1986 ECM album Bass Desires.

“Life of Pai” is simultaneously reflective and majestic in the moves, whereas “Yin and Yang” combines languid, lush pizzicato and arco techniques that erupt from another Eastern modal center. Both the attacks and decaying sounds are set with a purpose.

Also fantastic is “And Strike Each Tuneful String”, a technically flawless primal dance inspired by a field recording from the 60s with music from Burundi. The bassist lets himself go and follow his natural instincts in this improvised piece with a short reprise of “Prayer Beads”, which originally lives on the second album of the Bass Desires quartet, Second Sight.

Johnson combines warmth, scope, melody and rhythm, sustaining plenty of interest in the course of eight pieces where his creative vision and maturity are on display.

Favorite Tracks:
02 - Nardis ► 03 - Samurai Fly ► 04 - Love Theme From Spartacus

Label: Intakt Records, 2021

Personnel - Michael Formanek: double bass.

Michael Formanek is a a peerless genius of the rhythm, whose incredible technique and sublime ears made him one of the most respected bass players in the avant-garde jazz scene. Although he has played in all group formats, Imperfect Measures is just his second solo effort, succeeding to Am I Bothering You? (Screwgun, 1999).

Having structured this work cannily, the bassist enjoys all the freedom he wants, allowing the natural flow of his musical expression to move from track to track with inner logic. The artist/illustrator Warren Linn joined him in the recording session, creating sketches that evolved into collages/paintings that are partly featured in the CD package.

“Quickdraw” initiates this sonic journey with Formanek roaming through a fast, muscular pizzicato imbued with a thrilling melodic sense; this number is followed by “On the Skin”, which, easing up the pace, adds a dark and bluesy poignancy to the melody. The bassist completes the scenario with occasional intervals that help us situate within the harmonic context.

The excellent bowing skills brought to light on “A Maze” echo a sort of chant that becomes more ritualistic as it moves forward. Another conspicuous arco statement occurs in “Airborne”, where Formanek shows off a wide range of action and probes a multiphonic approach that intensifies the enigmatic nature of the moment.

Percussive and reverberating, “Full Frontal” is projected with crisp attacks and sonorous timbre, with some parts of the rhythm denoting rock influences that go perfectly well with the Eastern and folk impressions in the melody. Eastern undertones are also detected with plenty of chromatic wriggling on “Notice Moments”, a rhythmically interesting lament expressed with an instinctive sense of groove.

Formanek finishes off the album with “The Stand”, where a palpable riff becomes the object at the center, around which everything else revolves.

In its essence, it’s beside the point whether the inspiration comes from dance-rock or groove-centered jazz. Some dedication from the listeners will unlock any initial resistance involved in a solo bass storytelling of this nature. And the rewards will come.

Favorite Tracks:
02 - On the Skin ► 05 - Airborne ► 07 - Notice Moments