Label: Pi Recordings

Personnel - Steve Lehman: alto saxophone; Mark Turner: tenor saxophone; Matt Brewer: bass; Damion Reid: drums.

For his 17th album as a leader, alto saxophonist and composer Steve Lehman joins forces with tenorist Mark Turner in the frontline of a dynamic quartet, propelled by a formidable rhythm section featuring bassist Matt Brewer and drummer Damion Reid. This album, a tribute to Lehman’s early mentor Anthony Braxton in celebration of his 80th birthday, features eight tracks—five by Braxton, two by Lehman, and one by Monk—recorded live at ETA in Los Angeles.

Braxton’s “34a” launches the album with a furious vibe. A feverish, frenetic riff takes center stage, driven by an assertive rhythmic thrust, with the two saxophonists delivering sharp, angular unisons. Turner demonstrates his versatility, equally at home in avant-garde settings as in post-bop, while Lehman showcases his signature fractal style with dazzling speed and intervallic acrobatics. “40b” begins with Brewer’s reflective yet elegantly dancing bass lines, before an infectious Latin groove emerges. The saxophonists improvise with vision and vigor, their interplay baked with motifs and bright ideas.

Other standout Braxton pieces include “23c”, where precision licks are crisply articulated by Lehman, Brewer, and Reid, with knotty, turn-on-a-dime shifts in the rhythm department, and “23b+23g”, where regimented marching steps evolve into a swinging foray. The horn players toss out absorbing free-bop melodies while the rhythm section continues to skitter, clatter, and zing beneath them. Turner is on fire here, Reid comes into view from behind the kit with stunning details and syncopation, and Lehman delivers a gusty speech with a remarkable flow of articulation and accentuation.

Lehman penned “L.A. Genes” and “Unbroken and Unspoken”, each revealing different facets of his compositional voice. The former is a vibrant conversation of shifting polytonal interactions, full of exciting tangents and personalized remarks. The latter embraces both lyricism and complexity, opting for a more fluid and rounded approach while still infused with intricate rhythmic nuances that create an energetic, swinging tension.
The album concludes with a thrilling rendition of Monk’s “Trinkle Tinkle”, which unfolds after an adventurous two-minute saxophone duologue, leading to trading eights with the drummer.

A rigorous conceptual thinker, Lehman dives into complex compositional forms, conducting his trio-plus-one unit to stardom. The music is infectious, fervent, and bouncy, and the enjoyment brimful of exciting places to discover.

Favorite Tracks:
01 - 34a ► 02 - L.A. Genes ► 03 - 40b ► 05 - 23c

Label: Pi Recordings, 2019

Personnel - Steve Lehman: alto saxophone; Craig Taborn: piano; Matt Brewer: bass; Damion Reid: drum set.

Alto saxophonist and composer Steve Lehman is considered one of the most authoritative figures and highest exponents of modern jazz. However, not willing to settle down in that designation, he keeps ceaselessly looking for new ways to expand creativity. For his latest recording, he has invited the tremendous pianist Craig Taborn to join his remarkable rhythm section composed of bassist Matt Brewer and drummer Damion Reid. Allowing you to experience more resplendence than darkness, The People I Love also serves to celebrate the 10-year existence of the original trio.

The jarring melodies and polyrhythmic feel of “Prelude”, a shortly improvised sax-piano duet, lead us to the febrile drama of “Ih Calam And Ynnus”, a sensory catharsis where Lehman’s cutting-edge language stridently hits the propulsive navigation of piano, bass, and drums. Besides guaranteeing a quirky chordal thrust, Taborn shows off unhesitant reflexes at the time he starts improvising. Right after his massive flights, the forward-thinking pianist dispenses clever accompaniment for Brewer, who, after deliberating with confidence, unites his voice to the saxophonist’s.

The disconcerting additive meter of “Curse Fraction”, a tune first recorded in 2007, may be disorienting for the listener, but the soloists - Lehman and Taborn - bring their A-games while feeling completely at home, curiously opting for distinct modes of expression in order to describe similar viewpoints. In this case, the solicitous posture and counterintuitive volubility of the saxophonist deviates from the gallant mannerisms of the pianist.

If Dialect Fluorescent, the trio's first studio album released six years ago, included fresh readings of interesting tunes coming from a variety of sources - from Coltrane to Jackie McLean to Duke Pearson, then The People I Love follows the same concept, collecting a broader variety of genres and moods. The offerings include Autechre’s “qPlay”, which preserves the dark/light intermittence as well as the breakbeat-infused vibes; Kurt Rosenwinkel’s “A Shifting Design”, a strenuous, piano-less exercise retrieved unedited from a rehearsal tape in which Lehman shouts parables over Reid’s responsive, hip-hop-flavored drum flow; Jeff Tain Watts’s “The Impaler”, which is coupled with Lehman’s “Echoes” (taken from the octet album Travail Transformation and Flow) and loaded with a fresh nu-bop energy; and the accessible “Chance”, a 3/4 piece by pianist Kenny Kirkland, whose startling beauty is the product of the combination of melodious sax contours, shimmering brushwork, and just the right number of rooted bass notes not to lose the desired ambiguity.

“Beyond All Limits” is another Lehman composition included in a former octet album (Mise En Abime) and subjected to a sensational arrangement for the current format. Brewer cooks up a lovely preface before putting in motion an Afro-centric dance that later modulates in a breezier rhythmic flux. Already with the impeccable harmonic work from the pianist coloring the scene, Lehman exhibits some of the qualities that define him as a peerless improviser. Discoursing with fire, he resolves his phrases with caustic notes, leaving a sensation of both excitement and suspension in the air. Taborn’s phenomenal sweeps and punctual flurries are strictly cooperative in bringing the quartet to its best. Laughs are heard at the end.

This keen-witted jazz professed with ferocity and abandon is something you can’t afford to miss.

Favorite Tracks:
02 - Ih Calam And Ynnus ► 03 - Curse Fraction ► 07 - Beyond All Limits