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David Binney<br />
Graylen Epicenter<br />
Mythology 0008<br />
HHH1/2<br />
You might have to listen to alto player David<br />
Binney’s ninth release, Graylen Epicenter,<br />
more than once to fully digest it. It spotlights<br />
a midsize ensemble that often blends Gretchen<br />
Parlato’s vocals with a horn section. The compositions<br />
include interludes, multiple sections<br />
and some surprising twists and turns.<br />
“All Of Time” initially features drummers<br />
Brian Blade and Dan Weiss, the two bashing<br />
away beneath horn riffs for roughly a chorus.<br />
Things quiet down at the beginning of pianist<br />
Craig Taborn’s solo, but pick up shortly before<br />
Binney’s dramatic entrance more than halfway<br />
into the 10-minute track. Binney even sings<br />
toward the end.<br />
The title track also is fairly long (12:36).<br />
Guitarist Wayne Krantz’s bluesy solo complements<br />
the distinctive melody before it segues<br />
into the more abstract territory of scattershot<br />
horns, rubato rhythm section and various<br />
(spooky) sounds. Parlato’s vocals herald yet<br />
another transition that introduces Binney’s<br />
solo, a strong effort that begins quietly, builds<br />
momentum and happily stops short of a predictable<br />
climax.<br />
“From This Far” is shorter, purposely busy<br />
and densely textured; the abrupt ending works.<br />
On “Terrorists And Movie Stars,” Binney and<br />
tenor player Chris Potter feed off the rhythm<br />
section; when it becomes frenzied, their dialogue<br />
follows suit. “Home” spotlights Parlato at<br />
the outset, but a supercharged Binney upstages<br />
her. While the album’s vision isn’t always realized,<br />
it typifies the new mainstream: The soloists<br />
possess the flexibility to play inside and<br />
out; the arrangements are structured and eclectic<br />
and the time is played fairly straight.<br />
<br />
—Eric Fine<br />
Graylen Epicenter: All Of Time; Graylen Epicenter; Equality At<br />
Low Levels; Everglow; From This Far; Terrorists And Movie Stars;<br />
Same Stare, Different Thought; Home; Any Years Costume; Waking<br />
To Waves. (73:50)<br />
Personnel: Binney, alto, soprano saxophones, vocals; Chris Potter,<br />
tenor saxophone; Ambrose Akinmusire, trumpet; Wayne<br />
Krantz, guitars; Craig Taborn, piano; Ervind Opsvik, bass; Brian<br />
Blade, drums (1, 2, 3, 4, 6, 8, 9, 10); Dan Weiss, drums (1, 5, 6, 9,<br />
10); Kenny Wollesen, percussion, vibes; Roberto Boccato, percussion;<br />
Gretchen Parlato, vocals; Nina Geiger, vocals (10).<br />
Ordering info: davidbinney.com<br />
Rob Brown<br />
Trio<br />
Unknown Skies<br />
Rogue Art 0033<br />
HHHH<br />
Rob Brown<br />
Unexplained<br />
Phenomena<br />
Live At Vision<br />
Festival XV<br />
Marge 48<br />
HHH<br />
Rob Brown is one of the most singular voices<br />
on the alto saxophone. His skillful interval<br />
jumps and his biting tone are not designed to<br />
cajole the listeners, but to help them move out<br />
of their comfort zone and to expand their horizons.<br />
Two new live recordings offer additional<br />
insight on his musical persona and ideas.<br />
Unknown Skies was recorded at the 2010<br />
Sons d’Hiver Festival with pianist Craig Taborn<br />
and drummer Nasheet Waits. Without a bass,<br />
the three musicians operate on a more leveled<br />
field, rely less on melodies, and have plenty of<br />
room to stretch and develop notions to the fullest.<br />
Doing so, they alternate moments of fury<br />
and others where time is suspended. A few surprises<br />
are also included. Taborn is magnificent<br />
throughout: He can skillfully manipulate the<br />
sound of his instrument, as on the title track,<br />
where he slowly metamorphoses into a demented<br />
saloon piano player over an uncanny drum<br />
backdrop. His boundless imagination also<br />
translates into unusual comping patterns that<br />
occasionally threaten to collapse. Waits is such<br />
a chameleon that he perfectly blends in, making<br />
his first encounter with Brown a success. His<br />
loose and ever-shifting polyrhythms<br />
provide a challenging<br />
and inspiring backdrop<br />
to the two soloists. The leader<br />
demonstrates the rewards<br />
of patience as he slowly<br />
builds his solos to reach<br />
astonishing climaxes.<br />
Unexplained Phenomena<br />
is a different animal<br />
altogether—a quartet date<br />
recorded about five months<br />
later at the Vision Festival<br />
in New York. Brown shows<br />
that he also can conform to conventions, which<br />
is reflected in the structure of the pieces and<br />
the instrumentation. Ironically, the saxophonist’s<br />
playing is sonically more extreme: proof<br />
that even though Brown’s tone has been getting<br />
more polished over the years, its ferocity<br />
and tartness always come back to the fore<br />
when he is at his most incandescent. He also<br />
breaks the routine by choosing a different strategy<br />
to introduce each piece. Additional colors<br />
not previously found in the saxophonist’s musical<br />
universe are provided by vibraphonist Matt<br />
Moran, although his improvisations are much<br />
more restrained and less varied than Taborn’s.<br />
Drummer Gerald Cleaver and bassist Chris<br />
Lightcap weave an intricate rhythmic background<br />
while keeping the proceedings solidly<br />
anchored. —Alain Drouot<br />
Unknown Skies: A Fine Line; Unknown Skies; Bounce Back; The<br />
Upshot; Temerity. (61:58)<br />
Personnel: Rob Brown, alto saxophone; Craig Taborn, piano; Nasheet<br />
Waits, drums.<br />
Ordering info: roguart.com<br />
Unexplained Phenomena: Kite; Wonder/Wander Off; Tic Toc;<br />
Lurking/Looking; Bell Tone. (55:16)<br />
Personnel: Rob Brown, alto saxophone; Matt Moran, vibraphone;<br />
Chris Lightcap, bass; Gerald Cleaver, drums.<br />
Ordering info: futuramarge.free.fr<br />
SEPTEMBER 2011 DOWNBEAT 55
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