Label: Sunnyside Records, 2021
Personnel - Tobias Meinhart: tenor and soprano saxophone, alto flute, voice; Eden Laden: piano, Rhodes, synth; Matt Penman: bass; Obed Calvaire: drums; Ingrid Jensen: trumpet (#2,6); Charles Altura: guitar (#1,10)
German-born saxophonist/composer Tobias Meinhart has a new album inspired by varied sources, a remarkable distillation of engaging musical ideas woven together to make a more than satisfactory whole. Here, he spearheads a core quartet featuring the pianist Eden Laden, the bassist Matt Penman and the drummer Obed Calvaire, but the participation of trumpeter Ingrid Jensen and guitarist Charles Altura on two tracks each, revealed to be monster add-ons toward excellent sonic outcomes.
“White Bear” makes an impressive opener, advancing with a throttling ferocity at a 9/8 tempo and featuring a bass solo upfront. A nice unison melody glides over the rich harmonic itinerary and jagged rhythm, and then it's the liquidity of Altura’s guitar phrasing and the melodic qualities of Meinhart that stand out before a polyrhythmic feel emerges from a vamp.
Just like the first track, “The Painter” and “Bird Song” are highlights for different reasons. The former denotes a delicate fragility as it is introduced by beautiful, crystalline bass resonances, having Meinhart soaking the canvas with a dripping multiphonic melody and delivering his tenor solo with range, pure timbre and expert note choices. The latter tune places an ostinato of flute and trumpet at the base, shifts metrics along the way (5/4 to 4/4), and thrives not only with an alluring piano solo complemented with ARP String synth colorings but also with the luminous empowerment that comes from Meinhart and Jensen’s interlaced horns. The bandleader wrote this one for the Canadian trumpeter.
Calvaire brushes with flavor against the soft texture of “Oak Tree”, where Penman’s relaxation transpires through a sensitive bass statement. Also evincing affectionate demeanors and soothing tones, we have Bruno Martino’s ballad standard “Estate”, the sole non-original on the album, and “Last Dance”, a flute-driven piece propelled by a firm groove in five, which serves as a springboard for balmy modal ideas.
Inspired by the Black Lives Matter protests, “Movement” steps into more familiar post-bop territory with a swinging disposition, and another message of hope is brought by “Dreamers”, the closing tune in which Meinhart sings and plays the soprano saxophone.
The Painter is an outstanding record, finding Meinhart at the summit of his compositional prowess and underscoring the strengths of the players in it.
Grade A
Favorite Tracks:
01 - White Bear ► 05 - The Painter ► 06 - Bird Song