Carmel
Ethan Iverson's second venture with Blue Note, "Technically Acceptable," is a sonic canvas that stretches across the broad landscape of jazz, marrying tradition with today's jazz in a way that only a musician of Iverson's caliber can. This set of thirteen songs shows his understanding of jazz's past, present, and path to the future, showcasing his skills as a pianist, composer, and curator of exceptional talent. Through the interplay of two distinct trios, Iverson navigates various jazz epochs, delivering a performance that celebrates the genre's rich investigation of sounds.
The album starts with the trio of Thomas Morgan on bass and Kush Abadey on drums, immediately grabbing your attention with "Conundrum." This opening track is an engaging blend of rhythmic precision, harmonic depth, and melodic uplift, peppered with classical flourishes towards its end. It clearly indicates the trio's synergy and Iverson's adeptness in crafting compositions that are as intellectually stimulating as they are emotionally resonant.
"Victory is Assured (Alla Breve)" embodies the essence of the West Coast jazz movement with its playful yet sophisticated approach, incorporating a traditional swing sensibility alongside Iverson's stride piano embellishments. This piece mirrors the spirit of artists from the West Coast scene, known for their cool, contrapuntal jazz flavors and a penchant for blending classical influences with jazz improvisation. The track's structure and rhythmic complexity pay homage to the era's characteristic blend of meticulous, elegant rhythm and spontaneous expression, marking an expression that resonates with the historical depth and artistic innovation of mid-20th-century jazz.
The title track, "Technically Acceptable," plunges into the heart of hard bop with a display of complexity and spontaneity. The trio crafts an intricate flow of rhythmic and harmonic lines while achieving a seamless blend of technical skill and expressive depth. This composition embodies the quintessential qualities of hard bop—soulful expression, dynamic interplay, and a robust bop and gospel rhythmic foundation. Through this track, the essence of hard bop's golden era can be heard in Iverson's fusion of virtuosic skill and melodic intensity that characterizes the genre's enduring appeal.
Meanwhile, tracks like "It's Fine to Decline" venture into avant-garde domains, echoing the adventurous and boundary-pushing piano styles that are hallmarks of the genre's most innovative artists. This piece demonstrates the trio's adeptness at navigating dynamic shifts in style and atmosphere, embodying the spirit of exploration and experimentation. The composition pays tribute to the legacy of pioneering pianists who blended a wide array of influences—from classical to bebop and beyond—into their playing, creating a sound that defies categorization. This track captures the essence of avant-garde jazz's freedom, showcasing a commitment to add avant-garde textures to a conventional jazz form with maximum musical expression.
The album's latter half introduces a second trio with Simón Willson on bass and Vinnie Sperrazza on drums, offering fresh interpretations of standards. Their take on "Killing Me Softly with His Song" is a balance of space and melodic expression, while the rendition of Monk's "'Round Midnight" is a standout, with Rob Schwimmer's theremin adding an ethereal dimension to the timeless classic. This second ensemble amplifies the piano's role, allowing Iverson to delve deeper into melodic development and showcase his exceptional range, as in the European jazz flavors of "The Feeling is Mutual."
Iverson's solo work on the three-movement "Piano Sonata" is a riveting conclusion to the album, blending blues, stride, and classical influences to showcase his virtuosity and creative vision. The movements navigate through tempos and textures with a narrative coherence reflecting Iverson's deep musical intellect and ability to transcend genre boundaries.
Throughout "Technically Acceptable," Iverson and his collaborators profoundly respect jazz's lineage while merging with today's jazz structures. The album is a vibrant dialogue between the past and the present, marked by introspection, exuberance, and sheer musicality. Iverson's playing is a bridge between eras, infused with a modernist spirit that respects tradition without being constrained. The contributions of both trios are indispensable, each bringing a unique texture and perspective that enrich the album's sonic palette.