Christian Dillingham: As It Relates To Now

Bassists who spearhead recordings encounter a fundamental challenge. The apparatus that anchors the ensemble remains the most difficult to position at the forefront without the result appearing as a gimmick. Christian Dillingham evades this pitfall on As It Relates To Now not through excessive technical displays, but by ensuring every choice carries weight. The double bass does not merely exist for exhibition; it governs the proceedings.

The selection of a trio—comprising Dillingham, Greg Ward on alto saxophone, and Jeremy Cunningham on drums—proves inspired. Within this lean architecture, no musician can remain concealed, and none attempts to do so. Captured live to tape during one singular gathering at Pro Musica in Chicago, the collection possesses a raw honesty that meticulously layered studio productions seldom replicate. Listeners witness three individuals forging spontaneous resolutions, a collaborative evolution that provides the primary gratification of the work.

The title composition establishes the atmosphere instantly. The walking bass line Dillingham employs is steadfast and measured, providing Ward ample space to cultivate the melody prior to expansion. Ward accepts the invitation but avoids indulgence. His improvisation remains concentrated, concluding the piece with a sense of wholeness rather than simple cessation.

On "Behind the Horizon," the perception of Dillingham as a simple metronome dissolves. He does not merely support; he sculpts the sonic landscape. "Wooden Lawns" evolves from a soulful foundation into an expansive atmosphere, with Cunningham weaving percussive accents between his colleagues without obstructing their path. The synchronized segments resonate powerfully because the group justifies such intensity through prior restraint.

"If They Knew" functions as the focal ballad and arguably the most transparent moment on the disc. Ward delivers the melody with a direct, unsentimental clarity, while Dillingham subtly shifts the rhythmic foundation to maintain a delicate tension. Such an approach might fail under less capable hands, yet here it succeeds flawlessly.

The finale, "Divine Current," recedes and stabilizes, terminating the experience without unnecessary flourish. It represents the logical resolution. Ward has remained a vital, albeit understated, force within the Chicago jazz community for many years, and his synergy with Dillingham fuels this project. They converse in a musical dialect that implies years of shared history. As It Relates To Now avoids the pretense of a grandiose manifesto, opting instead to present a solid and commendable addition to the modern jazz canon. Inside this sparse framework, every performer remains fully exposed, yet each musician embraces that vulnerability without hesitation.