Saxophonist Jason Rigby's new album, ONE, is the
long-awaited release of his Detroit-Cleveland Trio. Rigby's first two
recordings employed larger ensembles as he worked to find his own artistic
balance as composer, bandleader, and improviser. This new album is more
intimate, putting improvisation first, both from the leader and from the group
collectively. The focus of ONE is the connection between three players of
different generations, who meet to form a unity of like-minded artists, bending
the boundaries between inside and outside. Most of the pieces are Rigby
originals.
"I've been composing for this band in a way that gives
each player enough compositional material to grab on to, but not too much to
stifle open-ended improvisation. Ultimately this recording is about
freewheeling improvisation and the unique connection that we have formed over
the past 6 years performing together as a trio."
That unique sound has its roots in development for more than
a decade. Cameron Brown has been with Rigby in various formats since 2005, and
Gerald Cleaver first played with the saxophonist in 2001. "I initially
played with Gerald on bassist Eivind Opsvik's debut release, and then did some
European touring with him shortly after with bassist Thomas Morgan. I've been a
fan of Cameron's since hearing him play with Idris Muhammed in Joe Lovano's
trio, and on record with the George Adams/Don Pullen Quartet. I knew that putting
Cameron and Gerald together would be an extremely exciting concoction."
In addition to the dazzling alchemic pairing of Brown and
Cleaver, Rigby's formation of this trio was an homage to the band members'
Midwest roots - Brown and Cleaver from Detroit and Rigby from Cleveland. Both cities have fostered a lengthy list of
jazz luminaries, with the Midwest long being a fertile cradle for musical
talent.
The result is an ensemble that deeply grooves, has a strong
predilection for free improvisation, and is visionary while respecting the
lineage of the music. The trio's cohesiveness is enhanced by the musicians'
abilities to effortlessly dance between inside and out playing - no doubt
evidence of three experienced players sharing similar artistic ideas.
"'ONE" refers to the musical unity the three of us
have with each other," Rigby explains. "There is a deep trust we
share with one another, allowing for greater risk-taking. The music is always
first, so I know whatever happens, we all have each other's back. Playing with
these guys is always an adventure - I never really know what's going to happen,
which is exciting."
The album opens with "Dive Bar," a fiery tenor
saxophone and drums duet. "I love drummers, and I've been fortunate to
play with some really great ones over the past several years." Rigby
refers to his work in various situations with the likes of Mark Guiliana, Brian
Blade, Tom Rainey, Billy Hart, Rudy Royston, Mark Ferber, and R.J. Miller, to
name a few. The title "Dive Bar" refers to the now too-few classic
New York City musical haunts, such as the original Five Spot, where bands
played night after night. "The great bands that played together nightly
formed a deep cohesion, such as with the Miles Davis Quintets." Rigby
says. "Cameron, Gerald and I have played together a lot over the years in
various formats, which has resulted in a strong bond, and I feel we have
developed a unique sound as a group. 'Dive Bar' is a very simple 2-part theme,
built to spark the bulk of the performance of uncharted improvisation."
The second track, "Dorian Gray," is inspired by
the Oscar Wilde work. "It's is built on 2 opposing themes - the first
being an odd-meter ostinato that evolves and shifts into the second, a settled
yet slightly askew bass ostinato with a contrasting melody on top." This
track showcases the trio's unity with the timing between drum and bass groove,
complicated rhythms, and angular melody lining up perfectly.
The third track is a departure from Rigby's original
compositions, Rodgers & Hart's "You Are Too Beautiful."
"This tune that was a big inspiration for me - mainly from the recordings
of John Coltrane & Johnny Hartman, and a live Sonny Rollins performance
from the late 1950's," explains Rigby. "I read that Dewey Redman
expressed frustration with listeners pigeon-holing his playing, as he stated
that he loved to play free as much as he loved to play an old standard ballad.
The love for both is something I share with Mr. Redman." Cameron Brown's
bass solo stretches the time with such patience and musical intent, in a way
that wonderfully illuminates his highly melodic style.
Track four, "Newtoon," is a composition by one of
Rigby's favorite drummers, George Schuller. The melody is a flowing line that
moves through several tonalities in rubato style. The players slip seamlessly
into group improvising, while maintaining a consistent thread of connection to
the original melody. "I love the idea of playing a tune in a way where the
lines between composed material and improvisation become blurred,"
explains Rigby. "George is such a melodic player on the drums, which is
expressed in his composing. I love the way Cameron and Gerald play this piece
as if they wrote it."
The Herbie Hancock composition "Speak Like A
Child" is track five, and features Rigby's cascading soprano saxophone.
"This is another of my favorite compositions, which we pare down into the
trio. The absence of a harmonic instrument allows us to stretch into more
freedom and space, which I feel has become a defining aspect of this band."
The sixth track is a Rigby original, "Live By The
Sword," a free-flowing melodic unison between tenor and bass. Cleaver's
swirling playing is particularly atmospheric here. After wisps of melody and
space, the performance builds to an intense final statement.
Rigby chose to record a solo version Gershwin's
"Embraceable You" for track seven, another of his favorite standards.
He begins with an introspective theme that develops into the tune, yet he never
fully plays the original melody. The quietest track on the recording, Rigby
weaves his improvised lines around the essence of the composition with patience
and thoughtful melodic development.
The final track, "Dewey," is part of a suite of
music that Rigby composed a few years ago dedicated to saxophonist Dewey Redman
and pianist Paul Bley. Beginning with a call-and-response of rhythmic hits and
flurrying melodies, the band plunges red-hot into group improvising. Rigby
plays with ferocious intensity while Brown and Cleaver stoke the fire. A
powerful ending to a varied collection of pieces, this track reveals this
band's capacity for primal screaming emotion.
"ONE" is the first of a series of recordings that
Rigby plans to release over the next couple of years, showcasing this band of
unique unity and vision. They celebrate the CD release on April 29th at The
Jazz Gallery in New York City. For more information and tickets, visit
jazzgallery.nyc.
Increasingly considered one of the most creative and unique
saxophonists of his generation, Jason Rigby has developed a unique voice as a
compelling improviser, as well as a composer. An in-demand sideman, Rigby
currently tours and records with Mark Guilliana's Jazz Quartet and Beat Music,
and has performed with a wide variety of musicians including Chris Morrissey,
Kris Davis, Russ Lossing, Owen Howard, Kermit Driscoll, Dan Wall, Mike
Baggetta, Eivind Opsvik, Mike Holober, Jeff Davis, Alan Ferber, David Binney,
and Aretha Franklin.
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