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It’s not surprising to find out that Ambrose Akinmusire has a fondness for owls, once you start thinking about his patient observation and precise accuracy in his jazz music over the last 15 years. He has received numerous praises during this time, often being compared to Miles Davis, and shares Davis’ belief that simplicity is key. Akinmusire named his trio album “Owl Song” because he admires the calm and deliberate nature of these birds, which reflects his own search for peace and reflection in a chaotic world overloaded with information.
Akinmusire could have simply performed Owl Song as a peaceful, dreamy duet with his renowned guitar companion Bill Frisell – however, it’s the combination of that vibe and the understated jazz rhythms from occasional Wynton Marsalis drummer Herlin Riley that creates the enchanting atmosphere of Owl Song. The first version of the title track begins with the gentle rustling of Riley’s brushes floating above soft beats on the bass drum, followed by a slow trumpet melody with warm, low tones and lingering high notes, accompanied by Frisell’s echoing guitar strums.
The cleverly timed exchange of paired instruments with single tones in Weighted Corners and the harmonious blend of trumpet and guitar in Grace give this music a minimalistic quality, but it also incorporates a wider range of sounds. Frisell effortlessly weaves together circling trumpet lines, pitch-bending flourishes, and phrases reminiscent of soft fanfares. Meanwhile, Riley adds a New Orleans street march beat to the improvisation of post-bop. The opening of Owl Song 2 features a calm procession of single tones and gentle tom-tom sounds that gradually evolve into a ballad-like story, revealing its beautiful melody and harmony piece by piece. As the title suggests, Owl Song is not an overtly loud piece, but its subtle message is filled with joy and can send shivers down one’s spine.
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Pianist and composer Myra Melford, from the West Coast, revives the lineup from her 2022 album For the Love of Fire and Water for her latest release Hear the Light Singing (RogueArt). This album features deeper improvisational collaborations between Melford, saxophonist Ingrid Laubrock, cellist Tomeka Reid, guitarist Mary Halvorson, and drummer Lesley Mok. Melford’s own compositions on this album are spiky, beautiful, and graceful. The legendary UK bandleader Mike Westbrook’s 1972 quintet Solid Gold Cadillac also makes a comeback 50 years after being the debut release for the innovative Cadillac label (Live 1972). This album features saxophonist and occasional People Show actor George Khan, and showcases a captivating blend of sax-led free jazz, R&B guitar reminiscent of Cream and The Rolling Stones, and dreamy atmospheric themes. The album also includes an ethereal rendition of Westbrook’s famous piece “Metropolis.” Swiss-born pianist Sylvie Courvoisier presents her album Chimaera (Intakt), which is inspired by French visual artist Odilon Redon. This avant-jazz album features Courvoisier’s captivating and picturesque compositions, as well as the talents of New York musicians Wadada Leo Smith (trumpet), Drew Gress (bass), and Kenny Wollesen (drums).
Source: theguardian.com
