Rob Brown Quartet: Oblongata

Although reedman Rob Brown has a string of small group leadership outings to his name, dating back to his first, Breath Rhyme (Silkheart) in 1990, Oblongata may be one of his finest. The 2022 studio session reunites him with some of his most enduring collaborators, the same crew responsible for From Here To Hear (Rogue Art, 2019), as well as an outstanding appearance at the 2019 Vision Festival, namely trombonist Steve Swell, bassist Chris Lightcap and drummer Chad Taylor.

Brown brings five charts to the hour-long program including four collective improvisations. In some ways it presents as a classic free jazz date, in that Brown's scripts presage a sequence of solos and sometimes duos before a reprise, but careful variation guarantees that the format never grows stale. However, the meat of the set lies in the dazzling interplay that ensues in the compositions and the extemporizations. The latter fit so seamlessly into the album flow that it can be easy to lose track of their origin.

Years of experience of interweaving horns, particularly in bassist William Parker's outfits such as the Little Huey Creative Music Orchestra and Raining On The Moon, ensure that when the opportunity arises Brown and Swell probe, call, respond, flex and caress in a ceaseless double act in which the focus toggles back and forth in an instant. At the same time, the astonishing interaction between Taylor and Lightcap, and with the front line, establishes them as equal partners in proceedings too.

Standout cut is the introductory "501 Memo," an attractively staggered stop time theme that tees up Swell's exploration of similarly dynamic locution. Notable here is how Taylor comments and accentuates, using a series of bass drum and hi-hat strikes to mirror Swell's turn of phrase. Brown's solo is a stunning statement of intent, a fractious squawk in which he squeezes the notes until the harmonics seep out, which seems freighted with feeling.

Not that any of the other pieces are far behind. There is a pleasing symmetry to "Steepening Curve," which starts and ends with a bright acappella exchange between alto and trombone. These duets sandwich convulsive drum bursts and a steady bass pivot which anchor the subsequent impromptu features for each horn. Here and elsewhere Swell's lines teem with detail as he varies both timbre and trajectory, veers between the registers, and pitches short, convoluted motifs against stretched-out exultations.

In a change of pace Brown switches to flute and the trombonist offers a measured warm glow on another communal endeavor, "Waving Around The Corner" essaying a languid rubato which ultimately develops a restless chattering undercurrent. "Piling On" finishes the recording on another high, as punchy unisons atop hyperactive pulsation open for another finely etched exposition from Brown's alto which teeters between shrieks of joy and anguish, again affirming his stature as one of the doyens of his instrument.

Although Brown's band may not break any barriers, it tackles the music with such aplomb and style that it enchants regardless.

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