While HOPIUM’s marketing might emphasize its philosophical underpinnings, the album’s true strength lies in the masterful interplay between these accomplished musicians.
Contagious Music
Dayna Stephens – Tenor & Alto Saxophone; Aaron Parks – Piano; Ben Street – Bass; Greg Hutchinson – Drums; Charles Altura – Guitar (track 7)
Dayna Stephens’ latest release HOPIUM is a masterful exploration of modern jazz that transcends its conceptual framework. While the promotional materials emphasize themes of hope versus cynicism and future uncertainty, the actual music delivers something far more nuanced and engaging, players at their peak just having an amazing musical conversation together.
Stephens reunites with his exceptional quartet from 2021’s RIGHT NOW! LIVE AT THE VILLAGE VANGUARD: Aaron Parks (piano), Ben Street (bass), and Greg Hutchinson (drums). Their chemistry is immediately apparent, creating music that flows with natural grace and mutual trust. They’re so comfortable playing together that everything unfolds naturally, nothing feels forced or overthought.
The album’s clever title, blending “hope” and “opium,” hints at hope’s dual nature as both motivation and potential distraction. However, the seven original compositions (six by Stephens, one by Parks) go deeper than that, letting listeners find their own meaning in the music.
The opening track, ‘Drive North to Find the Oranges Out West,’ showcases Stephens’ exceptional saxophone work, it’s warm, thoughtful, and deeply expressive. His smooth tone reminds me of Stan Getz, but there’s also the introspection of someone like Mark Turner. The way he phrases each line feels like an intimate conversation, and his work on ballads especially can evoke that smoky, late-night vibe.
On the title track ‘Hopium,’ Aaron Parks showcases his unique piano style. His approach often gives the impression that each phrase is deliberate, with a lot of space, and part of a larger conversation, rather than one continuous line like you’d hear with someone like Bill Evans. The rhythm section shines, with Street’s bass adopting an almost vocal quality and Hutchinson’s nuanced percussion crafting intricate patterns that propel the piece.
‘Trust’ opens with Parks’ meditative piano, soon joined by Stephens’ gentle saxophone lines. Street’s high-neck bass solo brings a poignant beauty to the piece, while Parks ’sparse, delicate chords nearly transform the track into a lullaby.
The album closes with ‘As Truth Rises Above Power,’ featuring guest guitarist Charles Altura, who might remind listeners of Pat Metheny or Bill Frisell, players who balance lyricism and atmosphere with chops. Yet Altura’s voice is wholly his own.
While HOPIUM’s marketing might emphasize its philosophical underpinnings, the album’s true strength lies in the masterful interplay between these accomplished musicians. Their performance transcends conceptual frameworks to create something immediate and genuinely moving, a reminder that sometimes the most hopeful thing we can do is simply listen to great musicians making music together.
