George Winstone: Odysseus

Surprisingly, George Winstone's album Odysseus has no connection with Greek Mythology, the Trojan War or Homer's epic poem. For Winstone, the title just seemed to fit. Indeed, it does seem apt; the soundscapes and moods that Winstone, together with guitarist Ben Monder, create would be suitable for the arc of many a journey narrative.

London-born saxophonist Winstone released his first EP in 2018. The following year, to move his career forward, he relocated to New York City. Monder has appeared on hundreds of albums as a sideman, also releasing several as a leader and playing with a host of key names including Billy Childs, Dave Liebman and Kenny Wheeler.

All the music on Odysseus was spontaneously composed in the recording session. The result is a meditative collection of nine parts combining jazz with occasional rock and classical influences. The end result sounds more composed than improvised. This is partly due to the discipline of the two musicians. They stay on the same wavelength throughout. There are many guitar effects via pedals and grunge-type chords together with searching sax, but they meld neatly into clearly defined sonic parameters. There are no sudden shocks for the listener. The ambiance is maintained throughout.

Winstone and Monder have a clear chemistry and a joint plan. Winstone provides harmony and melodic lead whilst Monder provides contrasting colors and textures to create an atmosphere. "Part I" opens with Winstone's plaintive sax hanging over the Monder's restrained effects. This creates an eerie and edgy soundscape, then dispelled by the balm of "Part II." "Part III" has fast sax explorations as the guitar suggests unrest with deep reverberating runs.

Elsewhere, "Part IV" has sax and chiming guitar gliding in and out with subtle ease. In contrast, "Part V" has heavy guitar chords restrained against the dark ruminations of the sax. The confidence of their interaction is apparent in "Part VIII" with Monder's pulsing distorted drone effects entwining around Winstone's bright sax shapes. The album ends with Winstone's sax, reminiscent of a folk lament against Monder's effects.

This is an album of quiet restraint; the fireworks are held in check to maintain the other-worldly atmosphere. Winstone's sax twists and turns but remains melancholic, melodic and meditative. Against this, Monder's distorted guitar creates shimmering and wintery moods. The trust and confidence between the two allows the fast responses needed for spontaneous composition, and they have succeeded in creating a captivating, entertaining and immersive soundscape.

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