A saxophonist and composer with uncommon ambition, Michael Eaton
seems to recognize no limits whatsoever on his craft. He's played in virtually every style imaginable: free improvisation, Latin jazz, post-bop, classical, reggae and rock, just to scratch the surfaceand he keeps company with a cross-section of today's cutting-edge players, including James Brandon Lewis
, Michael Attias
and Jonathan Finlayson
, all of whom appeared in a much-feted concert he put together with Adam Minkoff
in 2015 to commemorate the fiftieth anniversary of John Coltrane
(Impulse, 1965). That was followed soon after by 'Til the End My Dear
, a recording he and Minkoff coordinated of a number of works by Stravinsky, performed by a Frank Zappa
-esque octet (Vaalbara Records, 2018). Although it's just his second release as a leader, Eaton's latest, Dialogical
, continues his quest to cover as much ground as possible in his music.
The core of Eaton's group was previously featured on his 2015 debut, Individuation
(Destiny Records), with pianist Brad Whiteley
, bassist Daniel Ori
and drummer Shareef Taher
complementing Eaton to form an air-tight quartet capable of working through the many stylistic shifts that make up the music on Dialogical
. Along the way they're augmented with top-shelf musicians like guitarist Lionel Loueke
, vibraphonist Brittany Anjou
and flutist Cheryl Pyle
. Most of the music on Dialogical
is intricately constructed. From the lengthy, Latin-influenced opener, "Juno," to the West-African feel of "Dialogical," the Mideast-tinged "Anthropocene," the Eastern-European vibe of "I and Thou" and, finally, the four-part minimalist suite "Temporalities," the album is a mélange of styles that threatens to pull apart from its centrifugal tendencies. But what ultimately saves it is the superb musicianship that is present in abundance.
Especially on the longer tracks, it is clear that this is a band that likes to dig into a groove. On "Juno," Loueke's expansive, effects-laden solo catalyzes similarly potent contributions from Eaton and Whiteley, as Ori and Taher sustain the momentum of the track with rhythmic vigor and flexibility, a vital requirement given the piece's changing time signatures. The rock-inflected mode that alternates with the fast-swinging segment on "Anthropocene" seems to launch Eaton into a particularly impassioned solo, while the Steve Coleman
-influenced cyclical repetitions on "Aphoristic" set the stage for another excellent guitar exploration from Loueke. Although the pieces shift meters and styles frequently enough to make one's head spin, the group thrives on these transitions, and it brings the best out of the musicians as there's never a chance for things to become stagnant.
The album closes with the minimalist suite, "Temporalities." It's a substantial portion of the record, at around twenty minutes in length, and it's the album's most significant stylistic change-up. It's well-conceived and well-executed, making especially good use of Anjou's vibes and Pyle's flute, but its discontinuity with the rest of the album is noticeable. If there is a link to be found with the preceding tracks, one might argue that the kind of repetitions Eaton likes to use in his compositionssuch as the loops employed so effectively on "Aphoristic"aren't that far removed from the evolving patterns one finds in the work of Steve Reich
. But even so, this is a group that trades heavily on its rhythmic adventurousness, making the steady, unyielding rhythmic character of the suite a rather jarring departure, its high musical caliber notwithstanding. It might have worked better as a standalone project.
Regardless of its limitations, there is more than enough promising music on Dialogical
to justify Eaton's status as a force to be reckoned with in today's jazz world. One thing's certain, in any case: it's impossible to predict what he'll do next.
Juno; Anthropocene; Aphoristic; Thanatos and Eros; Cipher; Dialogical; Machinic Eros; I and Thou; Temporalities (Parts I-IV).
Michael Eaton: tenor and soprano saxophone; Brad Whiteley: piano; Daniel Ori: bass, gimbri; Shareef Taher: drums;
Lionel Loueke: guitar (1-3, 5); Brittany Anjou: vibraphone (2, 6, 9-12), gyil (6); Cheryl Pyle: flute (4, 7, 9-12); Enrique
Haneine: udu (1, 6); James Brandon Lewis: tenor saxophone (8); Sean Sonderegger: tenor saxophone (8); Jon Crowley:
trumpet (9-12); Dorian Wallace: piano and prepared piano (9-12); Sarah Mullins: marimba and triangles (9-12).
FOR THE LOVE OF JAZZ
All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who create it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.
WE NEED YOUR HELP
To expand our coverage even further and develop new means to foster jazz discovery and connectivity we need your help. You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles
for a full year. This winning combination will vastly improve your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today