Lucid Culture

JAZZ, CLASSICAL MUSIC AND THE ARTS IN NEW YORK CITY

The JD Allen Trio’s Landmark VICTORY! Out May 17

The JD Allen Trio’s new album VICTORY!, out on May 17, is one of those rare albums that stands to influence an entire generation of players. But that’s not the reason why it’s worth hearing: it’s because it’s such a good listen. Emotionally impactful and surprisingly diverse, it’s the most eclectic release so far by this extraordinary tenor sax-bass-drums unit who’ve been making potent albums since 2007. The group play the cd release show on May 18 at 7:30 PM at le Poisson Rouge.

The JD Allen Trio’s 2007 debut I AM I AM didn’t just explode out of nowhere – the tenor saxophonist and bandleader had been a sought-after sideman since the 90s. But it was an explosion, and four years later validates the fact that we called it a classic at the time. The new album seems to be the third and possibly climactic chapter of a triptych that began with I AM I AM and continued with 2009’s Shine! Allen disarmingly calls his compositions “jukebox jazz,” continuing the tradition of guys like Monk and Brubeck, whose compositions were as catchy as they were cerebral, and who sold hundreds of thousands of them as 45 RPM singles. Taking the form of a classical sonata – a theme and variations which end conclusively – the new album offers twelve succinct, interwoven compositions. With its direct, unflinchingly intense central theme which itself refers back to I AM I AM, this album takes the intensity of that album’s breakthrough suite to the next level, and on to its logical conclusion. Yet while all the rigor of I AM I AM is also in full effect here, this new album explores considerably more emotionally and musically diverse terrain. And it ends optimistically.

The title track sets the tone for much of the album, dark enigmatic minor-key gospel beauty played out against the stately insistence of the rhythm section, bassist Gregg August and drummer Rudy Royston. Royston’s aggressive introduction offers no hint of the balmy swing that emerges on the second track, The Pilot’s Compass, Allen interjecting commentary as August pulses and Royston supplies his signature, muscular rumble. They follow with the darkly biting, minor bluesy The Thirsty Ear and then the broodingly potent, ominously modal Sura Hinda, Allen’s solemn vibrato adding extra gravitas. As on I AM I AM, August gets an enviable role to play throughout the album, notably on The Learned Tongue as he shadows Allen while the drums go rubato, or on Philippe Petit – a homage to the World Trade Center wirewalker – where his serious, bowed lines, equal part triumph and terror, balance against Royston’s playful intricacies and Allen’s calm, steely optimism.

The simply titled Motif allows Allen and Royston to take the theme further outside as August sits out. Fatima allows a playful element to creep in over Royston’s nimble shuffle; Mr. Steepy enters with unexpectedly blithe swing blues, Allen running eighth notes a la Ben Webster, Royston eventually cutting loose with a grin and crowding everyone out of the picture. The album winds up with three unexpected shifts: a Harold Arlen-esque ballad; The Hungry Eye, centered around a vividly off-center bass solo; and the final track, reprising The Pilot’s Compass and elevating it to a rare sense of joy, ending suddenly with a bit of a wink. It could be the high point in a career of a group whose trajectory is still on the upswing.

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May 10, 2011 Posted by | jazz, Music, music, concert, review, Reviews | , , , , , , , , , , , , , , , , , , , , | Leave a comment