For years now, drummer and composer
Tyshawn Sorey
has built a substantial body of work that continually challenges genre designations between jazz, classical music, and improvisation by paying little heed to what separates them. For him, they are part of an inseparable whole feeding one another endlessly.
Sorey
's unpredictability and disregard for convention continue on
Verisimilitude
. After releasing the sprawling, universally acclaimed
The Inner Spectrum of Variables
, wherein he expanded his trio with pianist
Corey Smythe
and bassist
Chris Tordini
to a sextet by adding a trio of string players, he returns to the smaller configuration here.
A common thread among the five works here is, as always, the blurring of lines that exist -- at least for the listener -- between composed and improvised music. This trio has been together for four years; they hear one another on exceptionally subtle levels. This is amply evident in their interplay; their engagement is complete, and their collective language, though sometimes sparse and spare, is never static; something is always transpiring, even in the quieter sections. The overall mood is somber, dark, and mysterious. In addition, restraint (in the
Morton Feldman
-esque sense of the term) is the M.O. here, even when motion is at its most kinetic and the music gets dense.
Opener "Cascade in Slow Motion," is the shortest piece here at just under five minutes. (The rest are over ten with one over 30.) It commences just as its title suggests, with a small cascade of piano notes.
Smythe
establishes a pattern, followed expressionistically by
Tordini
with
expanding the music's parameters with fills, rolls, and accents until
enters arco to articulate its close. "Obsidian" expends four of its 18 minutes with dark, ambient electronic sounds and noises, with
adding dissonant, sparse arco lines as tonal contrast.
brings in the piano at about five minutes with ghost chords and single notes.
enters with a gong and stumbling tom-toms, while
adds elegantly bowed contrabass. The whole dissolves into near nothingness before
re-engages. The dynamic becomes explosive two-thirds of the way through before unmaking itself again with the resonance of a Tibetan bowl, ambient electronics, and treated bowed bass. By contrast, the half-hour "Algid November" sounds like almost pure abstraction. Percussion and strategically placed bass notes pace along a cymbal shimmer and piano chords for a long time. The music is never less than utterly compelling. When the pace eventually increases, a post-bop intensity takes hold, and it's transformative.
is a major entry in
's catalog. It moves from strength to strength and never forsakes its mandate to unfold at its own pace. Consequently, it will continue to delight listeners because it will never completely disclose all of its secrets. ~ Thom Jurek