Dikeman / Hong / Lumley / Warelis: Old Adam On Turtle Island

The creative community centered in Amsterdam, Netherlands, can be seen as the modern-day equivalent of a city once known as New Amsterdam—a 17th-century Dutch settlement that would eventually become New York City. Just as modern jazz flourished in mid-20th-century New York, some might argue that today's hotbed of creative music resides in old Amsterdam. Evidence for this can be found in Old Adam on Turtle Island, a stunning musical creation by a multicultural quartet.

Led by American saxophonist John Dikeman, the quartet previously released Sunday At De Ruimte (Tractata Records/Doek Raw, 2021) with Frank Rosaly on drums. In this new venture, Rosaly has been succeeded by Korean drummer Sun-Mi Hong. Completing the ensemble are Canadian bassist Aaron Lumley and Polish pianist Marta Warelis. While their previous release was entirely improvised, Old Adam on Turtle Island explores two expansive suites of composed music by Dikeman.

"The Rev-Descent-Choral-Let's Try" begins with Dikeman's sharp, cutting tenor saxophone weaving through a landscape of bowed bass, shimmering cymbals, and quick, swirling piano lines. This exploratory introduction soon lifts into an energetic free-jazz exchange. Warelis, known for her work with American trumpeter Dave Douglas, plays a central role in anchoring Dikeman's compositions. Her versatility allows her to shift seamlessly between chamber music-inspired passages, string-plucking inside the piano, and bursts of frenetic energy. The suite transitions fluidly from agitation to tranquility, with serene moments accented by delicate percussion, whispering arco bass, and airy saxophone phrasing. The music ebbs and flows between peaceful interludes, hummable melodies, bluesy expressions, quasi-classical piano segments, and climactic bursts of intensity.

Known for his Albert Ayler-esque sound, Dikeman shifts his focus here to composition and group dynamics. The second suite, "Groove-Choral-Manifest," is structured to showcase each member's talents equally. Lumley opens with eerie, vocal-like bowed bass tones, joined by cymbal splashes and Warelis's explorations inside and around the piano. This processional buildup continues until Dikeman enters at the 7½-minute mark with a bold, commanding saxophone voice. The quartet's collective energy channels the spirit of the 1960s Archie Shepp quartet or the 1990s work of David Murray, brimming with an avant-blues sensibility. The suite gradually deconstructs, moving into quieter terrain. Dikeman's overblown saxophone notes, paired with Lumley's bowed bass, lead the piece into a meditative conclusion.

Dikeman's two ambitious suites are masterful works of beauty, showcasing his skill not just as a saxophonist but as a composer and collaborator.

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