| Jazz |
An album that impresses from the first notes tends to raise expectations. The Children & The Warlock does just that, and thankfully, it mostly lives up to the promise. Built around a tightly knit ensemble, the record pays tribute to pianist and composer Harry Whitaker, mentor to pianist and producer Spike Wilner. A deeply expressive player and passionate advocate for free improvisation, Whitaker remains an underrecognized figure in jazz one of those names revered by insiders, largely overlooked by the wider public. Wilner describes him as someone who played “only in the moment,” and that ethos is the album’s guiding principle. “Don’t prepare anything beyond what’s already inside you, just play,” he recalls Whitaker saying.
That idea romantic, even seductive, fuels a recording that is by turns bold, raw, and uneven. This is not a record that seeks approval. It’s unfiltered, often uncompromising, and will appeal most to listeners who value risk over polish. That’s not a flaw, necessarily, but it does demand patience. At times, the abrasive edges of the arrangements feel more defiant than necessary. There’s intensity here, no doubt, but also moments where the music seems to challenge the listener simply for the sake of it.
Saxophonist George Garzone, long admired for his fearless improvisational voice, brings a volatile energy to the project. Wilner, who had long admired Garzone’s playing at Smalls, felt instinctively that he was the right person to channel Whitaker’s spirit. That intuition pays off: Garzone is often the record’s emotional center, pushing the band forward with an urgency that borders on ferocity. The trio of Wilner, bassist Tyler Gill, and drummer Anthony Pinciotti provides a solid, if occasionally overwhelmed foundation.
This is, at its core, a collective effort. The tracklist includes compositions from Whitaker, Wilner, and Garzone, alongside pieces by John Coltrane and Fred Lacy. The title track, The Child & The Warlock, a mesmerizing Whitaker original, functions as a loose metaphor: Wilner, Gill, and Pinciotti are the “children,” Garzone the “warlock,” leading them into unknown territory. It’s a clever framing device, though perhaps a touch too tidy for music that often resists narrative altogether. Another key track, Moment to Moment, is a free improvisation intended to honor Whitaker’s group of the same name. It succeeds more as a gesture than as a fully satisfying musical statement.
One could argue that even the most familiar material here is so heavily reinterpreted that it ceases to be recognizable. That’s both a strength and a liability. The group certainly imposes its identity on everything it touches, but in doing so, it sometimes loses the thread that connects player to listener. There’s a cultural coherence to the ensemble, yesbut it’s insular, even hermetic.
The album also carries a tragic postscript: drummer Anthony Pinciotti died suddenly after the session. “It may well be his last recording,” Wilner says, “and it’s undoubtedly a testament to his creativity and genius.” That context adds emotional weight, especially in the quieter moments which are few and far between.
Ultimately, Wilner offers a lofty vision for The Children & The Warlock: “Jazz can represent the most beautiful part of humanity, a free, open vision of the soul, meant to be shared and grown together.” It’s a noble idea, but one the album only occasionally lives up to.
By the end, I’m left conflicted. There’s invention here, and passion, and integrity, but also an occasional lack of restraint, even indulgence. It’s a brave record, certainly. Whether it’s a great one will depend on your tolerance for rawness and your taste for jazz at its most unvarnished. This is not art that asks to be liked. It simply demands to exist and maybe, that’s enough.
Thierry De Clemensat
Member at Jazz Journalists Association
USA correspondent for Paris-Move and ABS magazine
Editor for All About Jazz
Editor in chief – Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, April 24th 2025
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Musicians: Spike Wilner and his Trio Contrafactus, featuring bassist Paul Gill and drummer Anthony Pinciotti, with special guest saxophonist George Garzone.
Tracklist:
Hey, Open Up! (5:53) (George Garzone)
The Child and the Warlock (11:33) (Harry Whitaker)
Benediction (3:21) (Spike Wilner/ George Garzone)
Miles’ Mode (5:41) (John Coltrane)
Theme for Ernie (8:24) (Fred Lacy)
Moment to Moment (For Harry Whitaker) (9:58) (Spike Wilner/ George Garzone)
Re-Solution (3:26) (Spike Wilner/ George Garzone)