Mesmerism

Tyshawn Sorey is well known for the meticulous planning and arrangement he puts into his releases. Mesmerism sharply diverts from that process: it was rehearsed only hours before the session began. His trio here includes pianist Aaron Diehl and bassist Matt Brewer, musicians Sorey has known for a while but hasnt worked with in-studio before. The set was produced by Soreys mentor, Michael Carvin. This six-track set is composed of covers and Great American Songbook standards. They are arranged and performed with swing and Soreys exploratory M.O. Horace Silvers "Enchantment" (the original is on 1956s Six Pieces of Silver) was recorded by a quintet in a spirited tempo. Soreys version offers a minimal, classically tinged piano intro before the rhythm section enters. Sorey signals a tempo change at three minutes, as Diehl expounds on the harmony with elegant, Ahmad Jamal-esque vamps and fills and as the band digs through the melody, exposing its Latin and blues roots. Bill Evans sumptuous ballad "Detour Ahead" follows seamlessly. The longest cut here at over 14 minutes, it opens with solo Diehl balancing grace and curiosity with reverence. Brewer joins in, accenting and underscoring the progression with taste and restraint. Soreys brushes dont keep time so much as notate and highlight its passing. Performed at twice its original length, the trio explores modal and tonal architecture in the first half, before exposing and exploring the song-like melody that weds swing and blues. Joseph Kosmas standard "Autumn Leaves is rendered faithfully during its first few choruses. That said, Soreys syncopated brushed snares and tom-toms hint that something else is afoot. Diehl traces the melody, accenting and highlighting lyric elements in the turnarounds. Brewers mid-point solo weaves through the harmony as Sorey, in gentle double time support, makes it dance. When Diehl reintroduces the band, the tempo shifts upwards and the tune begins swinging with a breezy kind of intensity. Paul Motians "From Time to Time" (from 1991s Motian In Tokyo) is rendered with all the mystery of the original, and retains the quote from "The Windmills of Your Mind." At once spectral and probing, it gradually investigates the miniscule harmonic frame to reveal a concrete lyric melody. The trio grounds Muhal Richard Abrams mighty "Two Over One" in bluesy dramatics with a wonderfully evocative bass solo. Diehl employs Abrams expansive chord voicings to uncover and accent the tunes considerable episodic drama as Sorey gets thunderously inventive on his tom-toms. This reading, easily as inventive as Greg Osbys on 1998s Zero or Chico Freemans from 1977s Beyond The Rain, is more dynamic and accessible than either. A funky, grooving read of Duke Ellingtons "REM Blues" closes this deeply satisfying set. This trio displays a kinetic spontaneity even as their discipline shines through. As individuals, they are fluid and attentive; they react to and guide one another sensitively, confidently, and instinctively. Under Soreys leadership, they reveal that these old nuggets still have plenty of mystery in them ripe for discovery in the right hands. ~ Thom Jurek