Wednesday, August 7, 2019
A member of drummer Antonio Sanchez's recent band, Migration, Baird shares the virtuoso percussionist's interest in performing both hard-hitting and tender material—often within a single tune. On "A Life Between," Baird's cinematic compositions, fit for a stadium, alternate between power anthem and aching ballad. Indeed, with Nir Felder's pedal board adding eerie, even fearsome sonic landscapes, the album seems to chart an intergalactic drama, a dystopic world confronted by a romantic heroism.
For Baird, making this record was as much about the actual music as it was about his journey to triumph over the challenges facing young artists in New York. When times were tough and work was thin, Baird says he made it his mission "to cultivate a romanticism inside myself, even when the circumstances weren't romantic." So, caught in the middle—between dreaming up a life as a performing artist and realizing that dream—the saxophonist fell headlong into both composition and romance; and it is from this friction—between love and work—that "A Life Between" was born.
A chance encounter with Brad Mehldau five years ago, on the day of Baird's graduation from Juilliard, led to a patiently tended relationship. The innovative pianist's influence on Baird's writing is evident, and Mehldau provides both breathtaking solos and sage-like accompaniment throughout the recording. However, the magic of this music is that it so remarkably lacks any of the cliché awkwardness that usually spoils attempts by young musicians to record with one-time, "all-star" casts of "big-name" artists. Instead, a deep chemistry pervades the album, and all members play orchestrally, architecting each song's distinctive story. The personalities are balanced: Chmielinksi is actively bighearted and Sanchez is propulsively generous; Mehldau's conversation is both selfless and clever, and Felder's timely textures are both wild and intelligent; Baird's leadership is both urgent and vulnerable, bending often toward the prophetic.
For Robert Schumann's "Im wunderschönen Monat Mai" ("In the Beautiful Month of May"), which closes the album, Baird simply handed the band the original classical score, resulting in a plainly tender testament to love. Baird states: "I wanted to write and play songs more as vehicles for group improvisation than as intricate compositions. To let the band get into a vibe and take off."
Chase’s humble insistence that his message be conceptually simple, and that his compositions be clear, was handled with grace by the legendary recording engineer James Farber, whose expertise has aided just about every major star in jazz. “James’s rough mixes sounded incredible,” Chase marvels, “and we barely had to adjust them, in the end. He’s a master.” And really, listening to "A Life Between," it’s hard not to be moved by the sheer sound of the recording, which is vivid, raw, and lush, a loving portrait of the group’s virtuosity and sincerity.
"I really want to be in Radiohead," Baird jokes. "But how can I be a saxophonist and do that?” Part experimental rocker, part classical romantic, part Coltrane-devotee, Chase has answered his own question on A Life Between with a sound that is fresh, personal, and daring. A thunderous introduction into the mainstream: only at the beginning of his journey, and already dreaming up new lands through which to walk.
“Ripcord,” the album’s first track, debuted as a single on July 19th.
"A Life Between" will be released worldwide on August 9th.
Zé Eduardo Nazario: "Poema da Gota Serena" (Lugar Alto LA-002) 2019
Recorded @ JV Studios on October 23 & 30, 1982 by Edelho Gianullo & Sergio Shao-Lin
Remastered by Lelo Nazario
Cover Photo: Rogerio Santos
Artwork: Sometimes Always
Distributed by Honest Jon's
Featuring: Zé Eduardo Nazario (drums, tablas, kalimba, glockenspiel, percussion), Lelo Nazario (piano, Oberheim synthesizer, bells), Cacau (tenor sax, flute)
Zé Eduardo Nazario is a virtuoso musician, one of the world's greatest drummers. In the late 60s he was a regular at the famous Totem night club in São Paulo, performing alongside Tenório Jr. With Guilherme Franco (famous for his collaborations with McCoy Tyner), he formed the Grupo Experimental de Percussão. Besides an acclaimed solo career (having released several albums a leader) and legendary recordings with Hermeto Pascoal, Taiguara, Toninho Horta and Egberto Gismonti, he is equally celebrated for his six years as a member of the pioneering Grupo Um. Most recently I had the honor to work with him, in 2014, on Rodrigo Lima's "Saga" project, alongside Hugo Fattoruso, Frank Herzberg, Raul de Souza, Don Sebesky, Hubert Laws, Mike Mainieri and Sammy Figueroa.
Each side of this 1982 debut solo album originally released on the small Lira Paulistana label -- and previously reissued on CD format in 2015 by Editio Princeps with a different cover and bonus tracks -- explores different duets.
The opening track, "Energia dos 3 Mundos", presents Cacau (by then a member of Hermeto Pascoal's band and now living in France) improvising on tenor saxophone, and Nazário playing with a free, rolling, tumbling swing, using the kit in full. The second track, "Só Pra Ouvir" (dedicated to Hermeto) is more tranquil, featuring Zé’s mastery of the glockenspiel, and Indian percussion instruments such as the tabla and mridangam, whilst Cacau switches to a more delicate, dancing flute, combining northeastern with deep Amazonian influences.
The B-side is something else. Lelo Nazários’s synth clusters and electronic storms engage the exploratory percussion-work of "Pra Pensar" with cosmic curiosity, leading into the sublime "Prá Sentir E Pra Contar," with singing by way of South India, graceful synth chords and fluttering percussion.
Expertly remastered by genius keyboardist Lelo Nazário, directly from the original tapes, and beautifully produced, with an 45rpm 180g pressing by Pallas, brings an insert that includes reproductions of early reviews of the album. It's being released on João Visconde's Lugar Alto label, and distributed worldwide by the Portobello Road-based Honest Jon's team.
It’s a blast. A thrilling example of outernational shamanism and how music can be both spiritual and challenging at the same time. Hotly recommended.