Home » Jazz Articles » Album Review » Michael Bisio: Accortet

Michael Bisio: Accortet

By Mark Corroto
September 17, 2015
View read count

There is a cartoon circulating the internet that depicts a criminal suspect being interrogated by police. Also in the room is a jazz bassist. The detective tells his partner, "he'll talk, everyone talks during the bass solo." That may be true, unless the bassist is

Michael Bisio

bass, acoustic

" data-original-title="" title="">Michael Bisio. Whether performing with pianist

Matthew Shipp

piano
b.1960

" data-original-title="" title="">Matthew Shipp or saxophonist

Ivo Perelman

saxophone, tenor
b.1961

" data-original-title="" title="">Ivo Perelman, Bisio's presence is always prominent and unmistakable. His collaborations always tend to be more than accompaniment. He is the constant yin to another musician's yang.

When he steps out, to lead his own band, that yin intensifies, as it does on this Accortet recording. The unique nature of this disc, is Bisio's choice of expressive players. Obviously, the addition of Art Bailey's accordion jumps up first, but there is also percussionist

Michael Wimberly

percussion

" data-original-title="" title="">Michael Wimberly's deft touch and perhaps the most expressive cornetist working today,

Kirk Knuffke

trumpet

" data-original-title="" title="">Kirk Knuffke.

The disc opens with the gliding waltz of "AM," that twists and snakes with a passionately satisfying celebratory sound. Bisio underpins the music here and throughout with a rocksteady hand, one that he has lent to performances and recordings with

Charles Gayle

saxophone
1939 - 2023

" data-original-title="" title="">Charles Gayle,

Joe McPhee

woodwinds
b.1939

" data-original-title="" title="">Joe McPhee, and

Connie Crothers

piano
1941 - 2016

" data-original-title="" title="">Connie Crothers. "Henry's Theme" explores a more open-ended line with Bisio's bowed bass that gives way to an inspired bass solo. Bisio has always preferred an ordered sound. His solo here and on "I Want To Do To You What Spring Does To Cherry Trees" is demonstratively crisp and warm. The latter piece opens into a luscious ballad with Knuffke's cornet singing what feels like a familiar song. This disc or better yet, we should say album of songs (penned by Bisio), seems to always feel familiar. He drops bits and pieces of "A Love Supreme" bass lines into "Times That Bind," urging his players to consider the motivations for music making.

"Sun Mystery Ra History" draws on the ceremonial nature of Herman Sonny Blount's music with Bailey mimicking Sun Ra's keyboard dance. The two "Living Large" tracks feature duets between, (A&D) accordion and drums and (C&B) cornet and bass. Each displays the leader's preference for a cooperative sound. And each exhibits the musicality of the players; Wimberly's drums turn out melodies and Bisio's bass sings. The unique sound of the accordion is more than a hook, it interlocks naturally and in a casual manner with the bassist's concept to make this a complete statement.

Learn more about our star rating system

Track Listing

AM; Henry's Theme; Giant Chase; Times That Bond; I Want To Do To You What Spring Does To Cherry Trees; Livin' Large; (A&D); Charles Too!; Sun Mystery Ra History; Livin' Large (C&B).

Personnel

Michael Bisio

bass, acoustic

Kirk Knuffke: cornet; Art Bailey: accordion; Michael Bisio: bass; Michael Wimberly: drums.

Album information

Title: Accortet | Year Released: 2015 | Record Label: Relative Pitch Records

PREVIOUS / NEXT

Philadelphia United Jazz Festival 20...
< Previous

Visions Fugitives
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.