It's Mostly Residual

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Cuong Vu's 2005 It's Mostly Residual album found the trumpeter and his bandmates carefully treading a path between two forms of jazz whose adherents (audiences and musicians) didn't often mingle. If contemporary (Pat Metheny, Mark Isham) and avant (Chris Speed's yeah NO, Dave Douglas' Sanctuary) jazz could find a common meeting ground, Vu, whose widest audience exposure in the mid-2000s was probably through his membership in the Pat Metheny Group, was an artist with the skills and sensibility to make that happen. Vu emerged in the 1990s as one of the most distinctive voices on the so-called New York downtown scene, with a stronger embrace of electronic soundscapes than many of his peers. And yet, Vu demonstrated chops to burn on his unadorned acoustic horn, and that dichotomy helped to make his music so compelling. It's Mostly Residual often placed the two sides of Vu in startlingly abrupt juxtapositions; at other times those two sides were organically melded and sonically integrated, demonstrating both Vu's acumen as composer and arranger and the in-the-moment improvising skills of his extraordinary band.
At the beginning of the opening title track, Stomu Takeishi's fluid basslines, Ted Poor's skittering percussion, Bill Frisell's crisp yet warm guitar-picking, and the whooshes of Vu's trumpet coalesce around a gently insistent rhythm -- a memorable theme then emerges, stated by Vu with elongated notes drawn across a dramatically building chord progression. Comparisons with Mark Isham may seem inevitable, given the music's form as well as atmosphere, so one might initially be tempted to hear "It's Mostly Residual" as beautiful soundtrack music in the Isham mold -- that is, until Frisell explodes the piece with a deep slash of guitar and the music comes apart at the seams with looping electronic effects, Frisell cutting loose, and the pulse barely suggested as Poor thrashes away. Takeishi leads the way back to the theme and spectacular crescendos return the listener through a forest of loops to a final understated resolution -- all this, and the CD's diverse journey has hardly begun. And as for one of those startling contrasts, "It's Mostly Residual" has scarcely had time to fade away before the intro of "Expressions of a Neurotic Impulse" immediately ditches the electronics for a mix and performance that are so crisp, tight, and impossibly punched-up that they are almost zany and madcap, recalling opening salvo "Garbo" from the Avant label CD Ragged Jack by the Saft/Vu quartet in 1997. The acoustic clarity is soon overtaken, however -- Frisell's cranked-up guitar blasts into the mix, electronic treatments are reintroduced, and unearthly sounds are soon looping and colliding across the stereo field. (Note that the onslaught of between-station radio static is the sound of Vu's trumpet before electronic processing is applied.) The band momentarily lingers in electric Miles territory before escalating the tension into a full-bore assault perhaps a tad past "neurotic" on the madness meter -- and then suddenly, before you can catch your breath, the band is back at the introductory manic theme and the piece is over.
"Patchwork" begins and ends in lovely and comparatively understated fashion -- but there are sonic surprises around every corner at the heart of the piece. "Brittle, Like Twigs" bursts with staccato energy and funk, "Chitter Chatter" melds cinematic high drama to a rollicking high-spirited conclusion for one of the CD's most engaging rides, and the concluding "Blur" ends the album on an elegiac note, beautiful and cinematic but with the pyrotechnics this time held somewhat in check. In support of the always exemplary Vu, longtime bandmate Takeishi -- one of the most innovative electric bassists on the planet -- is slippery and limber but powerful as he leads the band through the changes, pouncing on emphatic low notes exactly when needed and cutting through the spiraling electronics with his characteristic harmo