This is a music and group that thrives on melody but delights in confounding expectation by lulling the listener into thinking the tune is going one way before disturbing the melodic or rhythmic flow to take the composition to another space.
ECM 2857 / 784 9955
Wolfgang Muthspiel (guitars); Scott Colley (double bass); Brian Blade (drums)
Recorded October 2024
This is the third album from Muthspiel’s tightly knit trio and gives a perfect indication of the progress of what is arguably one of the most integrated units in jazz. With Tokyo the group show how far they have come, while still retaining the spontaneity of their initial meeting and covering a wide range of material that acknowledges the source yet having the unmistakeable stamp of the collective written all over it.
Picking up on what appears to be a current trend of book ending an album with carefully chosen opening and closing pieces that, however loosely, have a link or thread that seemingly ties everything together, Muthspiel select compositions by two artists that are indelibly linked to ECM in Keith Jarrett and Paul Motian. Jarrett’s ‘Lisbon Stomp’ is giving a gently swinging treatment, while in contrast Motian’s ‘Abacus’ that brings the set to a conclusion is at times a respectfully full-blooded affair that has all three musicians listening intently to each other in a glorious dialogue.
It is this ability to listen and interact with an almost telepathic understanding that is at the heart of this remarkable music with each member taking on the role of accompanist or gently taking the lead. Quite how this is done so seamlessly is to be marvelled at, but the music that is often quiet and subdued is a delight in no less than eight original compositions by the guitarist.
The quieter side of the ensemble is beautifully captured in ‘Pradela’ and ‘Traversia’in which Muthspiel’s acoustic guitar takes centre stage alongside Scott Colley’s beautiful arco bass. The drama of this exquisite piece of music is further heightened by Blade’s drumming that gently hovers between accompaniment and directing the music with his careful prompts.
Acoustic guitar and bass again take the lead, initially, on the guitarist tribute to Kurt Weill in the ambiguously floating ‘Weill You Wait’ that also features some masterful touches from Brian Blade, and a completely different type of dialogue emerges on ‘Diminished and Augmented’.
The dynamic and textural aspect of the music is wide ranging, with all three musicians seemingly taking on multiple roles within the ensemble. Muthspiel’s command of both acoustic and electric guitars and how he chooses to deploy them at any one time is a joy to listen to.
This is a music and group that thrives on melody but delights in confounding expectation by lulling the listener into thinking the tune is going one way before disturbing the melodic or rhythmic flow to take the composition to another space. In doing so there are many delights along the way, and one hears new things every time one sits down to listen to this wonderful recording.
