Published since 2003
DC writes regularly about rock and roll, jazz and the blues, composing reviews of CD's, DVD's, live performances, books and films, as well as conducting interviews.
The second set actually had much in common with their summer presentation. With Rob Morse playing six-string electric bass---and only looking uncomfortable at it on one tune—the group indulged in groove-oriented material such as “Circumnavigate” that couldn’t help but bring comparisons to Medeski Martin & Wood. Having proved throughout their first set that they’re individually and collectively proficient, Vorcza regressed somewhat here; they should reconsider adopting something more of the traditional jazz trio approach, perhaps with Ray Paczknowski playing more electric piano.
A long-standing piece of the keyboardist’s hearkened back to earlier in the evening by dint of the predominant use of acoustic piano as did the Sun Ra encore, distinctive for eth same reason. The precocious threesome’s first set was impressive to say the least. Featuring a commissioned piece of Morse’s titled “The Kirovites,” the group’s atmospheric use of space and dynamics favorably recalled the best of the European label ECM’s best music. During the entire course of this hour-plus, drummer Gabe Jarrett swung, acting as the lynchpin of the band between bassist Morse and Paczkowski, both of whom spent time on their acoustic instruments to great effect. All three gained confidence as they played, radiating an increasing authority and daring as the set progressed.
The first half of Vorcza’s january 23rd night at the FlynnSpace might well serve as a microcosm of their development as a band. Instead of trying to get people to dance, they’d be well served by pursuing a more cerebral approach because it’s in this style they are most productive, most memorable and seemingly most comfortable.
Visit the Vorcza Trio on the web at www.vorcza.com .
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