One of the most unique thing about
art forms--whether it is painting, sculpting, the performing
arts or music--is how each individual reacts or is effected on
a variety of spiritual and emotional levels. In Jazz, the variety
of styles are as sundry as food. From ragtime, dixieland, swing,
modal and the avant-garde Jazz movement, to the Latin Jazz tinge,
rock fusion and contemporary sounds, Jazz comes in all shapes
and sizes to gratify even the most discerning and astute listener.
Perhaps when speaking to that end, the music
of guitarist Derik Bronston may spark curiosity to those that
crave for the obscure outer-boundaries and oddities of Jazz.
Far from embracing the commercial currents of the day, Bronston's
music either represents a time a place where Jazz was free, full
of vivacity and vigor, or it may be construed as a relic experimentation.
Others may find the music simplistic, obtuse or mundane. Still,
an accurate description may characterize the music as almost
being out of focus, displaced, a bit over the edge. Whatever
the case, one can be sure that the end result will rest in the
hands of listener who appreciate music as an art form. Meanwhile,
Bronston's guitar weeps gently carving a maze of musical sculptures
on his second CD titled "edd" featuring the talents
of saxophonist Lisa Parrott, bassist Gary Wang and drummer Gerald
Cleaver.
The group commences with a Brazilian Jazz tinged composition
titled "River Looking" moving briskly and setting a
ominous tone reflected in the harmonious structure. On "Dreams"
Bronston fashions a steady rock fusion groove with Wang and Cleaver
in tight proximity. Parrott adds her breathe saxophone sound
to the ballad titled "Waiting." A style that can be
described perhaps unconventional by nature, Parrott's musical
application (at least when it comes to this recording) is a paradox
of vertical motifs whose authenticity lay in a structure of modal
chromatism, all a while playing simile to Bronston's lyrical
style. "Somewhere in Time" dwells in a rock steady
groove with Parrot's exhorting possibly her finest work of improvisation.
The next track is a marvel for simplistic melody, "Conversation"
with harmonic and rhythmic structures almost resembling that
of the classic Wayne Shorter composition "Footprints."
The rest of the CD maintains the same ubiquitous avant-garde
musical texture that thrives throughout--including other compositions
titled "Journey", the title track "Edd",
"For Boris" and "Lullaby for a Wedding."
Most evident is Bronston's style to say the least, envelops
an eccentric character both as a player and composer. However,
his ability to instill variety in his compositions and improvisational
approach still leaves very little to be desired, as so far as
what it is heard on this CD--perhaps a sign of musical immaturity,
although maybe intended by the artist. Meaning, after one listens
to the first tune, that's much the way the rest of the CD will
sound, no surprises. No pun intended, it's like it has no musical
direction. This does not mean the musical work is inferior or
unpleasant. However, listeners will have to be more patient in
order to grasp and absorb the depth and complexity of Bronston's
music.
review by John Davis
JDavis@latnjazzclub.com
Contributing writer
LatinJazzClub Magazine
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