Denin Koch: It Comes in Waves

Guitarist Denin Slage-Koch's third album, It Comes in Waves, is a contemporary jazz outing featuring eight original compositions and a reimagined pop classic. Known for his exceptional technique and thoughtful compositions, Slage-Koch has assembled a group of highly skilled musicians to bring his vision to life. Slage-Koch's skill as a composer is evident in tracks like "The Road Home" and "The Philosopher (for Wayne Shorter)." In "The Road Home" one can hear beautiful harmonic progressions and tension/resolution patterns developed throughout the piece. The energetic straight-eight groove, established by bassist Seth Lewis and drummer Bobby Wiens, provides a solid foundation for the composition's development.

"The Philosopher (for Wayne Shorter)" pays homage to the late jazz legend with a rhythmically engaging theme. The composition employs a complex chord progression, rich orchestrative developments and feel changes throughout the song's form, creating a dynamic and engaging listening experience. Endsley's and Slage-Koch's solos capture the spirit of Shorter's style, adding a fitting tribute to the album.

Tracks like "It Comes in Waves" and "Quiet Year (12/31/2020)" delve into the emotional spectrum of human experience in different tempo settings. The title track, "It Comes in Waves," sets the tone with a modern harmonic progression and a flowing melody played by the frontline of guitar, trombone, and trumpet. Slage-Koch's solo, marked by fluid lines and clear articulation, is expressive, while Keberle's solo adds to the energy with his building development of central ideas. "Quiet Year (12/31/2020)" features Slage-Koch's solo guitar work during the introduction; his touch on the guitar is layered and balanced. Lewis and Wiens provide a layered ballad setting for Slage-Koch's elegant guitar lines. The trio encapsulates the reflective nature of the composition to a beautiful effect, evolving into a hauntingly beautiful ballad and providing a poignant end to the album. The album showcases the interplay between musicians, particularly in tracks like "Continue" and "Signal Fires." "Continue" is an up-tempo piece, a modern jazz vehicle from the hard bop school. The familiar framework created by the interaction between the horns and Slage-Koch's guitar yields an engaging listen. Slage-Koch's cleanly picked solo lines are complemented by Keberle's motivic solo, leading to an exhilarating exchange between the two. Allen-Dunn's solo combines modern and contemporary patterns, bringing the piece full circle.

"Signal Fires" introduces a fusion straight-eight groove where Slage-Koch's use of distortion on the electric guitar adds a new texture to the album. The ensemble's cohesive feel supports his expressive fusion jazz playing, highlighting the seamless interplay between the musicians and their ability to play various jazz styles.

Slage-Koch's vision of orchestration can be heard in the instrumentation of "Everybody Wants to Rule the World" and "One for Honey." His arrangement of the Tears for Fears classic brings the pop hit into the jazz realm with sophistication. The rhythmic motif in the pedal tone, combined with Wiens's dynamic drumming and Allen-Dunn's reharmonized textures, creates a compelling foundation. Slage-Koch's lyrical interpretation of the melody and modern jazz vocabulary in his solo make this arrangement an example of his ability to shape musical settings through orchestration. "One for Honey" presents Slage-Koch's playing in a straight-ahead swing context. His guitar tone and use of post-bop vocabulary go hand-in-hand in setting the tone for a solid swing selection. The tight interplay and swing feel between Lewis and Wiens creates a vibrant backdrop for the solos. Allen-Dunn's piano solo is notable for its melodic clarity, while Slage-Koch's solo balances technical agility with lyrical phrasing, making it an exemplary track for creating a setting through instrument colors and familiar roles and sounds.

It Comes in Waves is an impressive outing for Slage-Koch, characterized by compositional intricacies, depth of styles and instrumental colors and interplay.

Comments