Redefining Element 78

Albumbeschreibung

Redefining Element 78 is composer/pianist /arranger Rebecca Nash's sophomore date for Whirlwind Recordings. The first, 2019's The Peaceful King wed modern jazz and classical to electronica, outre pop, and spiritual soul, while evoking a rich harmonic language that bridged traditions from the 19th, 20th and 21st centuries. Redefining Element 78 is a conceptual suite commissioned by the Bristol Jazz Festival. Its eight pieces are inspired by "the confluence of sound and science," around precious metals. Nash was also influenced by American alto saxophonist John O'Gallagher's book, Twelve-Tone Improvisation: A Method for Using Tone Rows in Jazz. She even asked O'Gallagher to play on these sessions alongside her band Atlas -- guitarist Jamie Leeming, drummer Matt Fisher, trumpeter Nick Malcolm, bassist Paul Michael, and electronicists Chris Mapp and Nick Walters.
"Platinum I" introduces the suite as an overture in minature. Just three minutes long, it states the work's central theme -- that recurs in each track -- led by reeds and winds as piano adds harmonic foundation and dynamic ballast as Leeming's guitar and constantly rolling drums color the backdrop. Malcolm's open, improvised trumpet solo introduces "Osmium," the set's longest entry. It's tonal and timbral economy is gorgeously illustrated by Nash's canny piano solo and an airy, exotically textured guitar break. Speaking of guitar, Leeming plays the central role in the groove-drenched "Rhodium," going head to head in counterpoint with Michael and Fisher, whose breaks add spiky funk. Nash enters the theme at the halfway mark, signaling lift off. O'Gallagher offers a labyrinthine solo above piano and hovering electronics. "Iridum II" is an impressionistic statement of theme and extrapolation from Nash, that she embellishes with intuitive improvisation caressed by ambient electronics. "Ruthenium" commences with a delicate piano intro, rife with classical harmonies. Bass and cymbals enter two minutes in as Nash begins syncopating the rhythm and expanding the harmonic palette. O'Gallagher's alto transfroms it into an exploratory exercise with musical glue from piano and trumpet. O'Gallagher transmits an emotional 90 seconds opening "Iridium I" with various timbral iterations of the theme. He is joined first by guitar, then bass and drums then trumpet. Nash arrives halfway through investigating texture and space intimately. "Platinum II" is introduced by electronicically treated piano during first half; then, horns and drums burrow in extending the reach toward postbop with excellent solos from Malcolm (whose tone here recalls Kenny Wheeler's) and O'Gallagher. "Platinum - Noble Heart" is gorgeously plotted. Nash's circular, pillowy rendition of the central theme is elegantly framed by guitar, tom toms, subtle electronics, and everntually Malcolm's emotional horn in one of the most expressive solos of his career. The tune's processional pace and pastoral presentation serve to simultaneoulsy open tonal and harmonic fields, while simultaneously offering its mantra-like thematic statement for the listener to inhabit. Redefining Element 78 goes further than its fine predecessor. It is at once complex and welcoming. It renders complex musical ideas with abundant creativity, and as much emotional heft as musical sophistication.

© Thom Jurek /TiVo