VIJAY IYER — Uneasy (review)

VIJAY IYER — Uneasy album cover Album · 2021 · Post Bop Buy this album from MMA partners
4/5 ·
Last year in jazz, heavily influenced by the COVID pandemic, wasn't a regular one. With live gigs and even studio recording sessions being very often unavailable for many, musical market reacted quite soon flooding on-line sales points with tons of vaults material, rehearsal recordings and DIY-level home-made new music, which too often wouldn't be released under normal conditions at all.

There still were released (and still continue to come) some really good albums during these difficult times, renowned American pianist Vijay Iyer's new just released "Uneasy" is one of them.

It is Iyer's second trio album for ECM, the previous one was released in 2015, but the new trio is quite different from the first one. In fact, now we have a super-trio of sort, including one of the brightest creative drummer of the last few years Tyshawn Sorey and growing stylish bassist Linda Oh, who's solo works require a wider introduction, and she's one of the busiest acoustic bassist on today's scene as a collaborator.

From the very first sounds one will note that the new album sounds quite unusual for an ECM release. Recorded at Oktaven Audio Studio in Mount Vernon, NY, it doesn't have that characteristic cool and sterile sound of Oslo's Rainbow studio, or some other European facilities beloved by ECM. The opener, "Children Of Flint", is one of the best compositions on the whole album, with a lot of emotion and even some drama. As almost all the other album's songs, it is an Iyer's original (Gerri Allen’s “Drummer’s Song” and not really impressive version of Cole Porter’s “Night and Day” are the two only non-originals here).

Iyer's own compositions come from different periods of time, some of them have been already recorded on his other albums. Still, here they sound way different. Not as radical as many of Iyer's previous albums, "Uneasy", with its dominating mid-tempo all-acoustic groovy sound and extremely successful balance between post-bop tradition, creativity and modern sound, is possibly one great candidate for being a soundtrack for this last pandemic year - worried, calmer, sad and hopeful. Surprisingly, it was recorded in December 2019, but it anticipates pretty well the atmosphere of changes which came very soon.

Quite accessible, it brings lot of pleasure when listening, one of the very best works already released this year.
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