Sue Cahill: Evanstonia

Double bassist/composer Sue Cahill's Evanstonia kicks off with one of those olde-tyme a-ratta-tat-tat and a-ratta-tat-tat courtesy of drummer Dru Heller (Don Byron, Greg Osby) that can sweep a listener off into one of those musical moments that lock in at the moment, escort attention elsewhere for a while, then return one safely to the moody environs and everyday routine.

Evanstonia is a mellow bit of magic. It is never truly meant to challenge, but it is hardly derivative and hardly without surprise and vast delight. "Violet Snow" evolves into a thoroughly engaging journey through the aging process to vintage. And it all takes place after the chamber-esque discordance that opens the track.

As explained in the press material, Cahill sets aside her university teaching and orchestral underpinnings on Evanstonia to flourish in the fertile flatlands of theory and improvisation. So an ominous tango like the lustrous "Serenata" sounds right at home against the poppy ruse of "Unpresidented," and the sweeping romance of "Blue Light."

Of Evanstonia 's seven Cahill compositions, it is perhaps "Fading Into Autumn" where the composer and her music owes a hefty debt to the deft trio the bassist has assembled to support her. Pianist Dawn Clement (Matt Wilson, Buster Williams) is so much of one voice with Cahill that one might, in fact, first think the bassist's main instrument was the piano. It is lush. It is romantic. It is responsive and reactive. It is Cahill's second voice. Meanwhile, the drummer unfolds both shadows and the light, popping here, shuffling there, ready at any moment to take the lead or release it.

Though "June-February" may be meant as the emotional peak of the 'personal music' Cahill pursues on the album, it is, unfortunately, the most distracting track. Sung by pianist Clement, the lyrics are those of loss and resiliency." The tune moves solemnly, beautifully, meaningfully. But it breaks the enduring spell of the album's six previous gems.