Label: Pyroclastic Records, 2023

Personnel - Ingrid Laubrock: tenor and soprano saxophones; Mazz Swift: violin; Tomeka Reid: cello; Brandon Seabrook: guitar; Michael Formanek: bass; Tom Rainey: drums.

Visionary saxophonist and composer Ingrid Laubrock reaches a new height of expression with The Last Quiet Place, a sprawling, ambitious album that demands to be heard and felt. Leading an otherworldly avant-garde sextet that is receptive of other genres and experimentation, she managed to infuse so much freedom within the organized procedures and deliberate structure of six fully realized gems. They all show the bandleader’s incredible knack for modern composition and unpredictable choices in the arrangements.

“Anticipation” is set up with duo and trio combinations, making us feel the astonishing breadth of these musicians. At an early stage we hear Brandon Seabrook’s sparse guitar chords, the lyrical violin of Mazz Swift, and understated drumming by Tom Rainey. There’s occasional bass and cello injections by Michael Formanek and Tomeka Reid, respectively, who discreetly join the undisturbed communion. Afterwards, it’s Laubrock who stands out by spiraling over diagonal bass matrixes. Unisons announce the theme, and you’ll eventually find stylish brushwork, timely bass plucks, fabulous guitar comping, and responsive string activity.

The contagious dynamism of “Grammy Season” brings an invigorating motion and a fun funky feel reinforced by electric guitar. This piece, combining fertile melodic imagination and an astute approach to form, includes parallel lines, counterpoint, and plenty of rhythmic hooks before becoming cinematically mysterious in its final chamber impression. “The Last Quiet Place”, whose oneiric title stemmed from the readings of books by American journalist and Pulitzer Prize-winning author Elizabeth Kolbert, leans more toward the alternative pop/rock milieu via its chordal sequence and odd rhythmic flow. Laubrock sounds great on the soprano, blowing over pointillistic guitar and distorted harmonies, nuanced bass pedal points, and expertly brushed drums. The string players also soar around the edges.

“Delusions” conveys a deep sense of cohesiveness, whether through the precise and angular figure that defines its theme or the contorted shapes thrown in by Seabrook, who, together with Laubrock, is extremely active. The demure “Afterglow” features a tenor solo over drums, with intermittent stormy washes from guitar. The album closes with “Chant II”, a previously recorded modular piece (see Laubrock/Rainey duo album Utter from 2018) that, at this juncture, comes to life with swarming buzzes and humming undertones. Rainey excels throughout, and melodic synchronism arises from the six-beat obbligato that leads to the end.

Laubrock makes a huge impact with this disc, showing not just her personal connection to the material but also with the excellent group she leads.