| Jazz |
A magical trio comes together for a remarkable album, one that cannot mask its deep roots in classical music, yet presents pieces one might almost categorize as auteur film scores. Here, three iconic musician-composers of their generation delve into realms of post-bop, avant-garde, and even neo-soul, through performances marked by a profound and intense musical dialogue, with special guest contributions from Chris Potter and Becca Stevens.
For the trio Three Visitors—pianist Edward Simon, bassist Scott Colley, and drummer Brian Blade—the concept of “visitation” unfolds in myriad forms, all brilliantly explored in the group’s latest album. Listeners are gently enveloped by the poetic and romantic dimensions of these compositions, carried along by a subtle and captivating rhythm that places the scene precisely where it is meant to be, with a grace that few contemporary artists can so deftly command.
There is also a unique, almost serendipitous feeling that arises when these three artists find themselves together, as though they are momentarily visiting each other amid the rush of their separate lives. Among the most respected and sought-after musicians in the world of improvisation, their chemistry in Three Visitors is potent, nearly magical. Reflecting on their return to the stage after the pandemic, Colley shares, “I felt like I was stepping out of my skin because, from the very first notes, I knew this was imprinted in my DNA. I am bound to them through a long musical history, spanning so many different projects.” He adds, “I know these people. No words are needed.”
The way these musicians approach their craft recalls the golden age of the ECM label, a music that carries an inner message, a deep contemplation. Achieving this level of artistry requires years on stage, for beyond the composition and the writing lies a state of mind where mutual listening among artists forms the foundation upon which notes can rest. How to define the alchemy at play in Three Visitors? Colley describes their connection as one of calm, concentrated intensity, a kind of creative telepathy; he cites the trios of Ahmad Jamal, Bill Evans, and the Paul Motian-Joe Lovano-Bill Frisell trio as landmarks in their quest for a communication beyond words.
“What makes this group truly special,” Simon adds, “is its appreciation for space and a high-level interactivity, an intentional and deep listening that emerges during our improvisations.”
One must allow oneself to be gently drawn in by this album—which is not difficult, as none of the notes will ever push you away. Rather, you are absorbed by a poetic flow, an offering as intense as it is understated. Released today, this album is a brilliant example of masterful arrangement, for its elegance lies not only in the written themes and in the interpretations but in a profound attention to every detail. It would be nearly impossible to relegate this album to mere background listening; the urge quickly arises to savor every nuance.
While one could draw comparisons to the artists previously mentioned, this trio has crafted a unique identity, well beyond the shadows of their influences. Each instrumentalist here has long possessed a powerful musical voice, and together, as a trio, these three personalities resonate with both their individual differences and a shared cultural vision—a distinct artistry that is unmistakably their own. Surprises await listeners up to the very end of the album, with Chris Potter unleashed in full force and Becca Stevens’ gentle voice blending seamlessly into the trio’s sound, adding yet another invaluable album to the essential “classics” collection.
Thierry De Clemensat
USA correspondent – Paris-Move and ABS magazine
Editor in chief Bayou Blue Radio, Bayou Blue News
PARIS-MOVE, November 2nd 2024
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