Rivkah Ross: Dare to Hope

Rivkah Ross is a Portland, Oregon-based drummer and composer who has made her way professionally as a side musician in a variety of styles for a variety of leaders. Her debut recording, Dare to Hope (2024), is in her words, " A singular artistic statement that shows a path to new territory." The album's liner notes refer to acceptance, resilience, and the "unwavering human spirit," as prime instigators of this effort to produce original works as an artist and bandleader. While declaring the impetus for personal creative assertion in the form of some sort of narrative is increasingly in mode with younger artists in current times, it still comes down to, as it always has, to evoking an emotive response from the listening audience. The jazz public has been treated to an art form that often combines genius with deep assertions of the human spirit presented with virtuosic instrumental and vocal prowess. The bar has been set high, no matter the window dressing surrounding the effort. It is what makes a debut recording so difficult to endeavor from start to finish. In Ross' case, she has produced an album that features compositions presented in the artist's extremely positive and hopeful mindset, surrounded by musicians from the Portland area with whom she has artistic familiarity. The tunes, while not necessarily memorable melodically, are competent and skillfully constructed, providing an able canvas for the solo work of her bandmates.

"Orange Cat Behavior" is the burner of the album's six offerings, providing insights into the band's ability to swing up-tempo and drop a dime or two in the process. Ross' skillset is evident from the very start, exhibiting a well-refined sense of swing, agile snare work and a gas pedal to the floor push of her bandmates. Pianist Patrick Carr drops fluid passages while soloing and thoughtful chordal support when comping. His playing is the definitive highlight of the record in terms of individual instrumental prowess.

The ballad, "Song for Sara" is the album's most memorable melody and a prime vehicle for veteran saxophonist Brian Myers. The solos are thoughtful and melodically conceived within an emotional framework of melancholy. The title track allows the band to stretch out a bit, with Myers taking full advantage. The work here is competent, but mildly repetitive, lacking artistic clarity and spatial depth. "Mountains" has a Latin tinge that once again features Myers as its primary soloist. His solo opens the door for pianist Myers to tastefully stride forward. The work of Ross and bassist Mathew Holmes is on point, as it is throughout the album, but it does point to the inherent difficulty of leading a band from behind the kit in terms of impacting the music beyond compositional means. There is a lack of dynamics tune-to-tune that starts and ends with the rhythm section. This factor puts some of the finer solo work on the record into a category best defined as ordinary.

What makes a recording great and immeasurably valuable to the listener is that whisper of an invitation that allows them to find something in the music that is generally graspable, yet somehow personally inspirational. It is Ross' contention here that her daring and hope has produced such a work. From her end, this very well may be true, but the concern here for the listener is where that daring and hope comes from. Ross' upbeat, straight-ahead effort is technically and emotionally sound. For those whose relationship with jazz music comes from a deeper, more introspective space based in the blues-rich tenets of Black American music, this recording may fall somewhat short. There is a lack of grind within the framework of ardent glow and other auspicious qualities that surround Ross' musical world. The invitation is there—you just have to decide if the vibe fits the invitee.

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