Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

Epically Relevant Tunesmithing and a Jazz Standard Gig From Fabian Almazan’s Trio

Fabian Almazan is one of the most brilliantly and tunefully eclectic pianists in any style of music. His Alcanza Suite is one of the most epic albums released in this century, as ambitious in scope as, say, Miles Davis’ Miles Ahead. It doesn’t sound anything like Miles Ahead, but Almazan’s lavish orchestration is just as radical as Gil Evans’ charts were at the time. At this point, we can call the album one of the great underrated masterpieces of the past couple of decades – hopefully the critics, or what’s left of them, will catch up with it someday.

But Almazan doesn’t limit himself to orchestral epics. His latest one, This Land Abounds With Life – streaming at Bandcamp – is a mighty trio release with his brilliant bassist wife Linda May Han Oh and drummer Henry Cole. They’re playing the Jazz Standard on August 27 and 28, with sets at 7:30 and 9:30 PM; cover is $30.

The opening track, Benjamin shifts from a punishing, pummeling, syncopated scramble to a fleeting reggae interlude…and back up again. It wouldn’t be ridiculous to call this the missing link between Gyorgy Ligeti and Orrin Evans.

Keening with delicately oscillating electronic touches, Almazan’s palette balances murk and dappled sunlight in the allusively gorgeous, thirteen-minute Everglades, with a broodingly emphatic solo from Oh, his piano chords rising with a crushing intensity. Is this about fighting alligators…or alligators fighting to survive?

The Poets has a wry spoken-word intro, lavishly circling chords that Almazan takes for a waltz, and Cuban percussion shuffling incisively in the background: McCoy Tyner’s 70s work seems to be an influence. Ella is more low-key, a return to the album’s opening mix of lustre and algebraic minimalism. Cole’s dirgey Middle Eastern boom and Oh’s sober, staggered pulse anchor the moody modalities of Songs of the Forgotten, with a viciously sarcastic sample springing up to drive its political message home.

The Nomads is all about contrasts, blippy syncopation versus lingering gravitas; it warms considerably as the trio follow a long crescendo. Reflecting-pool glimmer moves in and envelops the tone poem Jaula, until Almazan picks up the pace with equally colorful neoromantic cascades. 

The practically ten-minute Bola de Nieve (Snowball) is the album’s high point, Oh’s bows somberly beneath a stark string trio – Megan Gould on violin, Karen Waltuch on viola and Eleanor Norton on cello – while the bandleader’s achingly lyrical. kinetic, Piazzollaiano melodic shifts kick in with a stately, balletesque pulse. It might be the most unselfconsciously beautiful song of the year.

Just when Folklorism seems like it’ll be the album’s most lighthearted track, Almazan starts flinging icy, Messiaenic close harmonies into the mix: the thematic shifts are disorienting, but they leave a mark. Likewise, Uncle Tio (a jokey title: “tio” is Spanish for “uncle”) moves suddenly from a hypnotic, stairstepping tangent to more pointillistic variations, Oh dancing cautiously, centerstage. Along with the the coyly spring-loaded Pet Steps Sitters Theme Song, it’s the album’s most amusing cut.

Almazan winds it up with the warmly familiar, relatively fragmentary (three minute, ha) solo ballad Music on My Mind. Classic album comparison: McCoy Tyner’s Sahara. This one’s that good.

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August 20, 2019 - Posted by | jazz, Music, review | , , , , , , , , , ,

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