Infinitude -
the concept of boundless possibility - is at the center of the music of Ingrid
and Christine Jensen. Over the past twenty years or so, as trumpeter and
saxophonist respectively, the West Canadian sisters have each shaped prolific
careers in contemporary jazz, collaborating with influential names such as
Clark Terry, Maria Schneider and Terry Lynn Carrington, working with large and
small ensembles, and responding brilliantly to various commissions to compose
for jazz orchestras around the globe.
For their
Whirlwind Recordings debut, Infinitude, available on January 27, 2017, the
Jensens have realized a long-held ambition - to write for and perform in the
more intimate setting of a quintet, combining their intuitive, sibling trust
with the creativity of renowned guitarist Ben Monder, and the foundational
artistry of bassist Fraser Hollins and drummer Jon Wikan. The particular
rapport within this grouping is expressed by Christine (composer of half of
this album's material), describing the environment as being less about soloing,
and with an emphasis on the question, "how are we going to dive into this
pool and swim together?" The resulting immersion, recorded at Studio
Pierre Marchand in Montreal over two days, sounds both live and organic, with
Ingrid confirming her close relationship with her sister: "It doesn't
actually feel like we're producing. We already have this flow which continues
as we perform together - we can find space, and craziness, and find our way in
and out of it, as well."
The
conversational feel which pervades this album's sixty- eight minutes is
illustrated in opening track, "Blue Yonder" (Christine Jensen), where
Ingrid's mellifluous trumpet technique (sounded through her custom-created
flugel-cupped mouthpiece and 'flumpet' bell) melds with Christine's warm,
legato alto to conjure the aura of a wordless vocal. Such grace is echoed by
the often understated, though lynchpin presence, of Ben Monder (whose effect is
explained by Christine as, "something which is intimate, yet full of the
future"); and that same quiet fire is evident in the grittier, rock-tinged
"Swirlaround" (Christine Jensen), and a freewheeling, even punkish
interpretation of Kenny Wheeler's "Old Time".
The soft,
melodic beauty of "Hopes Trail" (Ingrid Jensen) transcends its
underlying inspiration of political disillusionment, reinforcing our need to,
at least, musically rise above (accentuated by ascending, chromatic soprano);
and written for a kindred spirit of Christine's, the chirpy mobility of
"Octofolk" (Christine Jensen) features especially connected trumpet
and alto adventures, all underpinned by Ben Monder's textures and the spirited
rhythm team of Hollins and Wikan. Extended lines in the elegant "Dots and
Braids" (Ingrid Jensen) - which reflect Christine's lyrical saxophone
persona - are contrasted with shorter statements (also informally referencing
Canadian pianist/composer David Braid), while the increasing fullness of
buoyant, bossa-infused "Echolalia" (Ben Monder) hints at the sisters'
expertise in an orchestral jazz setting.
"Duo
Space" (Ingrid Jensen) and "Trio: Garden Hour" (Christine
Jensen) provide a different perspective, their reduced instrumentations and
improvisations offering further insight into the deep-seated need of these
imaginative musicians to express themselves and search out new sounds in an
arena which welcomes such freedom. Describing the experience, Ingrid says:
"I need that interaction and empathetic experience which comes from
playing good gigs with good people; a creative outpouring of my soul. With this
line-up and these compositions, it's really easy to channel the freer ideas
that are still in the context of the music, but which provide us with the
ability to go to that place where we all feel like we're most ourselves - and
that truly is a gift." As Christine concludes: "What Ingrid and I
have worked on together for so long has now finally been documented in a
special way that includes some surprises, especially with our choice of the
wonderful Ben Monder - when he says, 'I'm gonna play'... you just know that
it's going to be something real special and meaningful. For us, with
Infinitude, this is just the beginning."
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