Dawn Clement, Elsa Nilsson, Emma Dayhuff, Tina Raymond: Esthesis Quartet

The Covid-19 lockdown of 2020 and 2021 mandated that musicians find ways to connect without gathering in person. The pandemic produced a litany of recordings that along with photos of masked loved ones, will serve as tacit reminders of two years of solitude and isolation. For Esthesis Quartet this meant gathering on Zoom to keep the creative juices flowing, and to continue to write inspired music with the quartet in mind. While it is undeniable that this recording bears the mark of social isolation, in the end, it was recorded in a Los Angeles studio once the foursome felt it was safe to engage in person. Indeed, the term "esthesis" means "elementary sensations of touch," something the quartet was robbed of during the lockdown. The result is an emotionally intensive, evocative first effort that exudes the flow and vibe of the social interaction all sentient beings are drawn to.

With the front line being occupied by a flutist, one might have assumptions about the actual sound the band produces. That assumption would likely be wrong. Swedish born, New York based flutist Elsa Nilsson has a habit of creating a large sound that eludes such assumptions, playing with tremendous strength and a broad, rich tonality. Her work has gained her recognition not only as one of the bright lights of her instrument in modern jazz, but as a composer and improviser at large, regardless of what instrument she plays. She and pianist Dawn Clement have a personal relationship that dates back to time in Seattle at Cornish College of the Arts. Clement's broadly harmonic, muscular style gives the quartet a gentle but firm push towards the edge, as she has done under the auspices of artists such as Julian Priester and Jane Ira Bloom. Bassist Emma Dayhuff is there to collect the variant creative pieces that result from the band's innate fascination with risk. Her penchant for harmonic resonance and understated elegance has served her well performing extensively with Victor Goines as well as flutist Nicole Mitchell. Drummer Tina Raymond's playing employs African polyrhythms and classical techniques that she has utilized performing with such eclectic minds as David Binney and Jeff Parker. Her skill set enables the exploratory nature of her bandmates. In essence, the four members of Esthesis Quartet foundationally possess the innate qualities of interaction required to produce the possibility of inspired music, within the spirit of creative abandon.

Clement's "Cricket" is the opener, a composition synonymous with her physical piano style. Nilsson's caustic solo is backed by the pianist's sparse but strong comping that along with Raymond's driving drum and cymbal work, provides a strong glimpse of what is to come throughout the recording—an adventurous journey of self discovery within the context of sublime sisterhood.

Dayhuff's "Two Moons" is an homage to the Cheyenne chieftain who fought in the Battle of the Little Big Horn, and later traveled to Washington D.C. in the interest of the Northern Cheyenne people. Nilsson's tracked flutes provide melodic headwind for this piece that features nimble and fiercely articulated solos from Clement and the composer, Dayhuff on bass.

"Partial" and "Finding What's Lost," are vocal pieces with music and lyrics by Nilsson, with Clement contributing lyrics and vocals. The latter was written the week following the death of Nilsson's father and explores the journey of finding a path out of grief. Clement's vocal prowess is often overlooked for her piano virtuosity. Her 2017 release Tandem (Origin, 2017) put her vocal skills front and center in stunning harmony with then fellow Seattle resident, Johnaye Kendrick. Here, it is a stunning match with Nilsson's soaring, melodic charges.

"We Watch it all Burn" is Nilsson's reaction to the increasing severity of wildfires year to year. The track is the centerpiece of this insightful collaboration, with a strong foundation laid down by Dayhuff and Raymond. Nilsson's solo speaks to achieving innovation within form, of finding new territory within the twists and turns of modern composition. Clement's intricate witticisms are framed dynamically by Raymond's ultra-fine polyrhythms. Dayhuff comes out to play in freeform fashion, her solo providing a dynamic interlude, facilitating passage leading back to the melody. The piece is a likely candidate for extensive airplay.

Esthesis Quartet is a fearless launch into a future that one would hope includes extensive touring. The high level of artistry is without question, that which possesses a spirit that would surely thrive on the night to night realities of the road. It promises as well, to shed some light on the band's four members, each a high level contributor to the canon of modern jazz.