Vermillion

次世代ECMを担う、UK発注目ピアニストのトリオ作品がECMから初登場。

キット・ダウンズが、長年のコラボレーターであるペッター・エルド(b)とジェームス・マッドレン(ds)と一緒に、穏やかなリリシズムと大胆な創造性の爆発を交互に織り交ぜたピアノ・トリオ・プログラムを制作した。ECMからリリースされた2019年作品『Dreamlife of Debris』はBBCミュージック・マガジンで「別世界のような美しさを持つ作品」と評されたダウンズが、本作『Vermillion』ではこれまでで最も包括的な作品を生み出している。このトリオは、ピアノ・トリオという形式に独自の解釈を加えており、思いがけない和音の変化や生き生きとしたリズムの閃きを生み出しながら、独特の音楽の形を作り上げている。本作においてこのトリオは、明確な相互作用の中でこのピアノ・トリオ編成のユニークなデザインを描き出し、その過程でキット・ダウンズの幅広い音楽の想像世界の深い研究を世に送り出す。

2008年にBBCジャズ・アウォードにてRising Star賞を受賞、2010年にはマーキュリー・プライズにもノミネートされたピアニスト/オルガン奏者/コンポーザーによるECMからは初となるピアノ・トリオ作品。
2015年、トーマス・ストレーネンのプロジェクト"Time is a Blind Guide"にピアニストとして参加したのがきっかけとなり、2018年に教会のオルガンでほぼソロで録音した作品『Obsidi』an』でECMソロ・デビューを果たした。2019年リリースのECM2作目『Dreamlife of Debris』では、オルガンとピアノの両方を演奏し、サックス、ギター、チェロ、ドラムスというクインテット構成でより深い音楽を探求。
本作はこれまでENEMYというトリオで2018年から活動してきたスウェーデン出身のベーシスト、ペッター・エルドとイギリス人ドラマー、ジェームズ・マドレンと共にジャズを探求。
M-11のジミ・ヘンドリックスの楽曲以外はダウンズとエルドによるオリジナル曲で構成。
＜パーソネル＞Kit Downes(p) Petter Eldh(double-b) James Maddren(ds)

Vermillion is the third ECM leader date by classically trained British pianist and organist Kit Downes. He began his tenure with the label on 2018s Obsidian, a collection of mostly solo pieces recorded in churches on pipe organs. His follow-up, 2019s Dreamlife of Debris, showcased him playing piano and organ in a quintet setting that included guitarist Stian Westerhus, drummer Seb Rochford, cellist Lucy Railton, and saxophonist Tom Challenger. Vermillion reveals Downes in yet another setting, a jazz piano trio with Swedish bassist Petter Eldh and English drummer James Maddren. This group, a going concern called Enemy, recorded an eponymous debut for Edition in 2018. The intention of these sessions was to explore different ways of capturing the essence of chamber music in a jazz setting. That said, the album doesnt sound like that at all. Instead, it is a captivating exercise in reinvention for a 21st century jazz piano trio. Downes is an intricate player who instinctively grasps aesthetic and technical difficulties in advanced harmonic systems and rhythmic development, but hes always made them accessible without reduction. He couldnt have asked for a more intuitive rhythm section to aid him. There are five tunes each from Downes and Eldh, as well as a fragmental abstract of Jimi Hendrixs "Castles Made of Sand." As performed, these tunes suggest a sequence of unrelated yet highly accessible instrumental miniatures -- almost singles, really. That said, they are so centered on movement that familiar senses of gravity and return are somewhat displaced. Downes "Minus Monks" offers a sparse opening, before the trio responds with elegant consonance, juxtaposing post-bop and Latin-tinged modes. "Sister, Sister" emerges from a folk-like melody unsettled by kinetic brushwork before expanding to expressionist modern jazz aided by Eldhs soulful bass playing. "Seceda" is a graceful waltz that supplies a deep groove recalling the 90s work of Abdullah Ibrahim. The bassists "Sandilands" is built on shimmering harmonics in ever-changing meters. Downes playing simultaneously recalls both his mentor John Taylors and Chick Coreas. "Waders" stands in sharp contrast. Its rhythmic solidity is guided by Eldh (the composer) in criss-crossing blues, post-bop pointillism, and modal swing. His "Class Fails" commences with a two-minute spectral drum solo before opening onto a classical field in Downes solo before the rhythm section gently coaxes him into Evans-esque melodic improvisation that also flirts with 19th century liturgical music. The Hendrix cover is so liberal it may take those familiar with it a few moments to discern its melodic center. Downes extrapolates on the chord voicings with crystalline harmonic circularity. The pianist joins them during the final moments in rhythmic conversation. Vermillion is seamless. There are no pyrotechnics, only intimate communication that revels in its organic approach to harmonic invention, dynamic use of space, and deft rhythmic interplay. ~ Thom Jurek