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Lingering

Meg Okura

Label: Adhyâropa Records
Released: 2024
Duration: 01:04:03
Views: 188

Tracks

Improvisation No. 1; Without Words; Again and Again; Will You Hear My Voice; Seven Short Pieces: I.Aleph; Seven Short Pieces: II. Blues Kachol; Seven Short Pieces: III. Mi is Who is He is She; Seven Short Pieces: IV. Maim Korim; Seven Short Pieces: V. Shamaim; Seven Short Pieces: VI. Lilah; Seven Short Pieces: VII. Hora Tarantella; Waltz For Wollesen; Improvisation No. 2; Lingering.

Personnel

Meg Okura

violin

Kevin Hays

piano

Album Description

Some music defies easy classification and description, as do some musicians. Violinist Meg Okura has never played it safe. Fearlessly creative, she has long inhabited her own fresh and unpredictable world of music. Classically trained with degrees from Juilliard, she switched to jazz after graduation and has since worked with a long list of notables (including Lee Konitz, Michael Brecker, and Tom Harrell), led her Pan Asian Chamber Jazz Ensemble, and recorded more than ten albums of her own. While Kevin Hays has had a very different life, his musical attitude and openness to new collaborations is similar to Meg’s. He has led over 20 albums since 1990 and has worked with everyone from Sonny Rollins, Joshua Redman and Chris Potter to Eddie Henderson, Lionel Loueke, and Brad Mehldau. Meg and Kevin have performed together on an occasional basis during the past decade. Whenever they get together, they inspire each other, not by playing the obvious or repeating safe ideas but by challenging each other and traveling musically to surprising places. All of the music on Lingering was recorded in four hours. Throughout the invigorating set, the two musicians consistently blur the differences between composition and improvisation, making the most spontaneous moments sound planned in advance while their melodic statements are free and loose. And although violin-piano duets are somewhat rare in jazz, one never misses the bass or drums during these fascinating encounters. Two of the performances are free improvisations. “Improvisation No. 1” is a musical dialogue that sets the stage for what is to follow. The two musicians act as equal partners who react instantly to each other’s ideas. Their music evolves logically if unpredictably to its quiet conclusion during this free form but melodic number. “Without Words” is a melancholy song about writing but not mailing a letter to one’s unrequited love. Its pretty melody is haunting as it musically portrays one’s dream of something that will never happen. “Again & Again” explores several moods and includes some fancy fiddling. “Can You Hear My Voice,” which Meg had previously recorded with her Pan Asian Chamber Jazz Ensemble, is one of her most memorable and heartfelt melodies. The centerpiece of Lingering is the violinist’s Jewish suite “Seven Short Pieces” which at times brings to mind Bartok’s “Romanian Folk Dances” and Eric Whitacre’s “Five Hebrew Love Songs.” Each listener will have their favorite moments. To mention a few highlights, “Aleph” includes an unusual rhythm in the bass line of the melody, “Blues Kachol” is an eccentric and somewhat demented blues, “Maim Korim” has a beautiful theme, and “Shamaim” features the duo effortlessly improvising off of an infectious riff in 14/8 time. Kevin Hays’ “Waltz For Wollesen” was previously recorded on his albums New Day (in a quintet with Gregoire Maret on harmonica) and Where Are You (a trio with tenor-saxophonist Mark Turner). This new treatment is quite a bit different, a quietly emotional version during which Meg’s violin playing is quite beautiful. Concluding the project are the surprising “Improvisation No. 2” (usually free improvisations do not swing this much) and “Lingering,” a tender piece which at its end leaves one wanting more. It may have taken a decade, but Lingering confirms the musical magic that Meg Okura and Kevin Hays both experienced during their first encounter, playing for the Shabbat service at a synagogue. Scott Yanow, jazz journalist/historian

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