Art Hirahara: Echo Canyon

The planned happenstance theory states that unplanned events can create new opportunities. So it was that Art Hirahara was in the right place at the right time, taking last-minute advantage of studio time at Brooklyn's Acoustic Recording studio following a cancellation by another artist. Along with his long time collaborators, bassist Boris Kozlov and drummer Rudy Royston, the session produced the album, Echo Canyon. This is his ninth album for the Posi-Tone Records label and follows on from Verdant Valley (2022).

As a result of the short notice, there was little new music to use for the recording. Taking this as an opportunity, they revisited tracks written and recorded for other releases on the label. Despite this, the album feels fresh and completely balanced. There are six of Hirahara's compositions and three by Kozlov. Over the years, Hirahara has found his own musical style by performing in a variety of genres. He has become highly respected both as a leader and as a sideman and is at the top of his game on this album. Previous albums have often featured guest musicians, but this time the core trio had the opportunity to stretch out on their own and show the full range of their capabilities.

The title track, originally written for trumpeter Alex Sipiagin, opens the album. It is quickly apparent how well the trio interact; they sparkle with creativity and Hirahara's improvisation flows without lag or labour. Kozlov's arco bass is another highlight. Taking the title from the Japanese and Italian words for blue, "Aoi Blu" is introduced by a gentle cascading melody before Royston drives an increase in tempo. Kozlov's "Aftermath," is a darker piece that changes time signatures as it conveys a post pandemic landscape ending with Royston's fiery drums signalling recovery.

There was one new track composed for the album. The hymn-like and stately melody of "To The Sky" relates to the death of photographer Tyre Nichols. Kozlov and Royston showing their experience with perfectly understated support. The lively "Shura," another track originally written for Sipiagin, this time by Kozlov, flows from a bass introduction before taking sharp turns amongst well-judged drum flurries. "Major Waltz" has faint echoes of Bill Evans in Hirahara's solos. Kovlov anchors as Royston weaves in textural layers.

The final three tracks are all Hirahara compositions. Sounding like a cover of a standard, "The More Things Change" swings and allows Kozlov, for whom it was written, to shine. "Mia 'Bella," originally featured on Hirahara's album Open Sky (Posi-Tone, 2021). On that occasion the melody was led by Nicole Glover's saxophone. The trio format seems to suit the tune far better and the piano has the space to bring home the beautifully mellow and romantic nature of the track. The up-tempo closing track, "Spider's Dance," comes from Alexa Tarantino's album, Firefly (Posi-Tone, 2021) and features neat bass and piano interplay.

This immersive recording has pleasures to be found in every track. The trio display great chemistry, they grab the attention and keep it by not being predictable, despite the highly melodic nature of the album. Hirahara's playing is lyrical and expressive and the quality of the compositions make this an easy album to recommend.

Comments