Label: Clean Feed, 2020

Personnel - Marty Ehrlich: conduction, alto sax; Bobby Zankel: alto sax; Julian Pressley: alto sax; Robert DeBellis: tenor and soprano saxes; Hafez Modirzadeh: tenor sax; Mark Allen: baritone sax; Dave Ballou: trumpet; Dwayne Eubanks: trumpet; Graham Haynes: cornet; Josh Evans: trumpet; Steve Swell: trombone; Michael Dessen: trombone: Alfred Patterson: trombone; Jose Davila: bass trombone; Tom Lawton piano; Michael Formanek: bass; Chad Taylor: drums.

SoundPath is a long-form composition by the late groundbreaking pianist Muhal Richard Abrams, the resulted from a commission by Philadelphia-based saxophonist Bobby Zankel for his ensemble Warriors of the Wonderful Sound.

The piece, which was performed live twice in 2012 and 2018, roams from section to section, tempered by the broad experience of conductor and alto saxophonist Marty Ehrlich, a former collaborator of Abrams. He, better than anyone, understands the author’s vision and where this music stands.

The absorbing musical act is structured with ebbing and flowing tides, displaying a luxurious orchestral density right at the starting point but soon finding a lower gravitational force in the phenomenal piano work offered by Tom Lawton.

Despite the constancy of tension and angularity, there are amiable swinging sections filled with improvisational splendor. It’s exactly under this ‘mood’ that Zankel on alto, trumpeter Duane Eubanks and trombonist Steve Swell make their voices heard. Then, a variety of horns in gentle communion contrast with angular piano convolutions before Ehrlich jumps in to distribute hook-shaped phrases over the agile torsions of Michael Formanek’s authoritative bass.

The horn section splits up, creating intense droning background and intersecting melodies in anticipation to the bassist’s solo, which later morphs into continual swing gestures corroborated by drummer Chad Taylor. The latter's sleek brushwork polishes the finishing touches. The one taking advantage of this solid anchor is trumpeter Josh Evans, who shows fierceness in his post-bop elation.

The poetic quality in Abrams’ music is not removed with the enthusiasm, inventiveness and sometimes playfulness of the soloists. From here and until the end, we still have two more sections featuring a deep-seated statement from Jose Davila on bass trombone with nimble cross-stick moves in the back, Julian Pressley’s uninterrupted cries on alto with horn fills aggrandizing the supplication, and Taylor’s fine percussive chops, which conclude the spontaneous initiatives.

Frequently touching the sublime, SoundPath provides the freedom and joy usually ingrained in the avant-garde jazz of the true masters.