"Between Here And Heaven" takes a different direction. Beginning with the most vague of electronic chords, the band slowly layers on ideas, almost willing a theme to take shape. Way Out East is absolutely packed with these kind of situations. The Gravitas Quartet's players seem perfectly suited to the task of extending Horvitz' ideas. It's sheer musical chemistry (If you don't believe me just check out Gravitas in microcosm, "Our Brief Duet:" Horvitz on piano, Sara Schoenbeck on bassoon — sheer bliss).
It's too bad that some folks are put off by improvised music because of its "difficulty" (and I'll admit that some stuff way out on the edge can indeed be a challenge). In some ways, that sentiment misses the point...misses the playfulness that's inherent in this music. The swooping cello tones on "One Morten" provide a perfect example. We don't have to know what Peggy Lee is doing, or even what she intends. The fact is that these noises running circles around the piano are just plain fun. That idea refutes some of Bolling's detractors who complained that the music wasn't classical enough, wasn't jazz enough.
Hey, it being interesting and fun wasn't good enough?
The pond. The trip across, the house, the apple fight. These are all memories now. Still, that one evening is not unrelated to the rest of my life. Music can function the same way. Connecting lines draw together items within a song, an album, and even across genres.
It's a big world out there. Listen.
Article comments
1 - Aaron Fleming
Big world indeed, large enough for any number of obscure jazz releases. Good stuff!