Ricochet
I have a soft spot for vibraphone music, no doubt coming from Gary Burton's and Chick Corea's classic duos. Most often the vibraphonist is credited with a supporting role, managing however to take the music into a whole new direction. Tim Buckley's Happy Sad turns into sublime, azure folk. Without Bobby Hutcherson's quirky jangle in "Out to Lunch"'s theme (a brief rhythm, overlayed anyway until Dolphy and Hubbard keep their fingers on the valves or pause for breath), the piece (and album, even!) would turn out imperfect. You can fill in with your own examples now.
Obviously, when it comes to Arrive's newest album, I'm trying to compliment Jason Adasiewicz most, for his well-placed accent on what mallet jazz means: respiring melodies, powdery nuances, vibrations and echoes, lofty harmonies or flashing percussive hits. Any lead in this album is otherwise arguable. Aram Shelton might be known better for avant-garde flourishes, having indeed slightly more temperamental entries. Tim Daisy's conception on everything is laid-back and sheathing, whilst Jason Roebke's bass sounds at times surprisingly articulate. Arrive are setting the pace among the new Chicago ensembles, and "There Was..." is a mixture of fine-spun free-jazz and thrilling "nu-bop".
An album of grooves, unwinds and suspenses altogether, a highlight this year, with the highly regarded kind of aesthetic refinement, musically delish.
