David Binney Quartet at L'Astral in Montreal, May 13, 2010
Lober, who took a lengthy opening solo on "Simple Vibe" that was a combination of lithe muscularity and unexpected harmonic shifts, possessed a particularly percussive tone that worked exceptionally well with Weiss and the rest of the group. Like his band mates, eye contact was paramount, and an unmistakable aspect to how the group communicated, with the smallest gesture often suggesting much more. As a longtime participant of FIJM's jam session trio, it's equally clear how much he's grown from his time spent playing and studying in New York.
Sacks is another player who deserves to be heard by a larger audience. A perfect match for Weiss' temporal elasticity, he's a profoundly rhythmic player, even as his ability to displace time is surprising, even on what is considered by some to be a "rhythm section instrument." The truth is that with Binney's group, it stops being about mere accompaniment, becoming more about a collaborative paradigm that may feature one instrument at times, but moves forward with a collective will. Despite unmistakable moments of virtuosic greatness, the most compelling aspect to Sacks' playing was how much it was about the ensemble, with what he didn't play often as important as what he did. Moving from slightly off-kilter elliptical patterns to longer motifs that were as rhythmic as they were melodic, he played with rare invention and intuition.
Binney's credentials as a player have never been in question, despite his unmistakable strength as a writer, but in solo after solo he proved that sometimes the best material is that which pushes the writer to move out of his comfort zone. Whether building long, repeated patterns, demonstrating subtle strength with multiphonics or incredible cascades of notes that almost seemed to overlap despite the inherently linear nature of his alto, Binney may have left the stage often to leave the rest of his band mates to go where they wanted, but his presence was constantly felt...and a constant reminder of just how important he is, whether or not his name ever reaches the level of household status.
's relatively obscure "Toy Tune," recorded on Aliso, an anomaly in Binney's discography, containing, as it does, more material by others than original compositions. It was a great way to close off the set by acknowledging how the iconic spirit of artists like Shorter continues to loom large, even with artists whose focus is on their own music. Based on the near-capacity crowd's enthusiastic response and for some this was a first encounter, but clearly won't be the lastthere's no small likelihood that Binney could well be considered in the same category in the years ahead.
A relatively short encore provided the only cover of the eveningWayne Shorter
All Photos: John Kelman