The trio of Lake, Workman and Cyrille is, by now, seasoned in the right way. All three players are relative veterans and the depth of their shared musical understanding is obvious in everything they do. This time,
"
data-original-title="" title="">Andrew Hill harmonically speaking, though it's only fair to emphasize that such names are merely points of reference, to accentuate the self-contained nature of her musical output.
All the experience implied here wouldn't amount to much if the music produced led to a whole lot of nothing, but the opposite is true. The shared group identity does not result in the negation of the members' individual voices. The trick is pulled off with no little skill, especially with reference to
"
data-original-title="" title="">Eric Dolphy's "Gazzeloni." If ever a musician was equipped with the resources and trenchancy of opinion necessary to do justice to Dolphy's perhaps increasingly enigmatic music, then
"
data-original-title="" title="">Oliver Lake's the man. He turns in a solo to prove it, all irregular intervallic leaps and off-kilter ebullience.
Lake's "Long Melody" provides a reflective interlude, proving that the mood comes easily when a group is as empathetic as this one. The subtle dynamics don't diminish the momentum of the piece, but it's not as if velocity is something the performance overtly strives for. In the interest of those dynamics, both Allen and drummer
"
data-original-title="" title="">Andrew Cyrille deploy an augmented vocabulary and the end result creates a craving for more of this shaded, essentially timeless methodology.
Cyrille's reflective "Tey" offers proofif ever neededthat he's one of the highly select band of drummers who also happen to be distinctive composers. Lake, on flute, portrays
"
data-original-title="" title="">James Spaulding in his ability to bring two different sensibilities to bear on both his alto saxophone and flute work. The result is compelling, especially as the entire band has a collective and highly evolved understanding of tension and release. When Allen starts in on her solo, it's a quietly glorious moment in itself, rendered all the more so by the individual yet entirely unmannered essence of her playing.
"Barbara's Rainbow" is a group credit, and assuming it's an in-the-moment creation, it's a credit to this group's ever-present shared understanding. Lake has always been a distinct stylist on soprano sax too, and here he proves the point once again, much to this album's benefit.
Swamini; Gazzeloni; For Patrick L.; All Net; Current; Lake's Jump; Long Melody; Tey; Barbara's Rainbow; In The Realm Of The Child Of True Humanity Within.
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.
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.