Jazz |

If, from the very introduction of this album, you feel an overwhelming poetic charge, rest assured—it is perfectly natural. No need to contact your psychiatrist. This effect stems from the inspiration drawn from Robert Frost’s poem The Road Not Taken. Like the narrator of the poem, Dann Zinn finds himself at a fork in the road, faced with a momentous decision. Accompanying him on this journey through eight distinct original compositions is an innovative and incandescent quartet featuring Rachel Z on piano, Jeff Denson on bass, and Omar Hakim on drums, with guest percussionist Brian Rice lending his talents.
It took a potentially career-ending accident—one that could have damaged his right hand—for Zinn to focus exclusively on the saxophone. Once a flutist as well, he adapted the saxophone to his altered physical state. The result is an album that is sincerely breathtaking from start to finish. We would have been deprived of an extraordinary artistic contribution had Zinn been forced to abandon his career. Here, we are treated to a wealth of meticulously crafted and improvisational music, marked by a mastery uniquely his own.
Musically, Two Roads represents a bold stylistic evolution. The album explores a wide array of musical traditions that have shaped Zinn’s unmistakably original voice, both as a composer and performer. The breadth of ideas is extraordinary, ranging from Nordic folk-jazz to American jazz, East Bay funk, gospel, and electronically transformed atmospheres. At its core, however, lies a solid classical foundation, evident in the way the piano echoes the influences of Ravel and others, conjuring vivid imagery with just a few notes.
As the album progresses, we are increasingly captivated by the piano—its subtle elegance would surely have pleased Erik Satie. It lays the foundation for the rich palette of colors that Zinn weaves into his poignant and melancholic tales, each a delight to the ear. The use of acoustic instruments ensures the timelessness of the work, while the electronic elements are employed with remarkable intelligence.
Many of these elements shine individually—from the unabashed post-bop opener Yarak to the energetic, gospel-infused Pros and Cons, and the eerie soundscapes framing A Revolution of One. Yet, the album’s most profound revelation lies in Zinn’s genius as a synthesist. Perfect fusions such as The Sound of Ice Melting, where punchy, funky aggression balances a nostalgic folk melody; the powerful Latin rhythms and evocative vocalizations (courtesy of Jeff Denson) in Two Words; or the offbeat, non-punk groove of East Bay Punk—these could only come from Dann Zinn.
Though undeniably powerful, this album avoids unnecessary showmanship. It is one of those rare gems where the instrumentalists work quiet miracles in the background at every moment. We are thus presented with an outstanding album that narrowly misses the “Essential” category—falling short only due to the final track, Prayer Again, which doesn’t quite match the caliber of the preceding compositions. Nevertheless, it earns its place as a “Favorite.”
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, January 15th 2025
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