Joe Santa Maria: Oblique Rhyme

The perennial challenge of balancing individual expression with collective harmony is masterfully addressed by Joe Santa Maria (saxophones), David Tranchina (bass), Gary Fukushima (piano), and Colin Woodford (drums). Their collaboration weaves contemporary jazz with blues and avant-garde elements, crafting an eclectic sound that showcases the quartet's versatility and chemistry.

Fukushima's style is strikingly individualistic, marked by an idiosyncratic flair. He fills every open space with stimulating, unpredictable phrases, sidestepping clichés with a nod to jazz's rich history. While influences are hard to pin down, his playing suggests a deep study of piano greats, positioning him as an emerging force in jazz. Beyond performing, Fukushima is a journalist, contributing features on contemporary jazz artists to Downbeat and Los Angeles publications.

Each musician contributes original compositions—Santa Maria with four, Tranchina with three, and one each from Woodford and Fukushima. This diversity highlights their distinct voices while maintaining a cohesive group sound, thanks to their multifaceted backgrounds. The result is a polished yet adventurous album that thrives on bold exploration and tight interplay.

The opening track, "War Crimes," composed by Santa Maria, sets a daring acrid tone with its angular Ornette Coleman-inspired melody, driven by his commanding tenor saxophone. Tranchina, a student of Charlie Haden, anchors the group with a rich, steady bass sound. He values "spontaneous simplicity" and reimagining tradition, evident in his composition "Hidden Lake," a pastoral piece with a yearning quality that inspires evocative solos from Santa Maria and Fukushima. Woodford's "This Must Be For You" introduces a gentle, ballad-like feel, with Santa Maria channeling a subdued Wayne Shorter-influenced solo before Fukushima's introspective solo takes over. On "Caricature," Santa Maria's angular, edgy saxophone contrasts with Fukushima's searching, deliberately unresolved piano lines, all grounded by Tranchina's steadfast rhythm and Woodford's dynamic drumming. The crisp production ensures each instrument—from Fukushima's Fender Rhodes to Woodford's vibrant percussion—shines without overwhelming the ensemble.

The solid bass of Tranchina, the variegated tones of Santa Maria, the driving drums of Woodford and the masterly compendium of styles that is Fukushima all blend into artistic alchemy. This quartet brims with potential. Their next album will reveal whether this intriguing blend of instrumental prowess and genre-defying compositions can evolve further. Let us hope the adventure continues.