Dana Fitzsimons: Fault Lines

Fault Lines is never going to be confused with easy listening. While it has somehow acquired the label of free jazz, whatever that is, it is not cacophonous, aimless or even particularly adventurous. It is difficult in the way that Brad Mehldau is difficult, which is to say, one has to pay attention. There are distinct inner and outer voicings, and the role of the rhythm section is to amplify or modify them. It may be a bit surprising not to get more featured percussion when Dana Fitzsimons, the leader, is an Atlanta-based drummer, but there are lots of surprises in this very tuneful recording.

Perhaps the best way to approach the album is the way one would approach a painting by the German abstract expressionist Gerhard Richter, whom Fitzsimons gives as a source of inspiration. Richter's work is sometimes identified by color; it makes no sense to pick at the pieces and mutter what is this supposed to be? The music, similarly, is variously a mood, a feeling, a memory, an emotional state, a number or just a color, and with a few notable exceptions, for example, "Where or When" or "Amelia," not primarily melodic, although there are some lovely melodies throughout. Marian McPartland said that the key of D is daffodil yellow, B major is maroon, and Bb is blue. Instead of thinking "Aren't we fancy?" it is better to reflect that quite a few musicians hear colors, or think them when a particular chord is voiced.

From time to time, fragments of once-heard melodies and harmonies appear, although it is probably not a great idea to ask Fitzsimons or pianist Bill Graham (who "wrote" quite a few of the tunes) if theirs was another misspent youth listening to "Maiden Voyage." It is easy enough to find quite a few markers that an accomplished group of jazz musicians has assimilated without explicitly deploying. If someone says something is "in the tradition," they could be thinking of Fault Lines as well as "Tea for Two." A recording worth spending time with, and players worth getting to know.