Art Hirahara: Open Sky

At the close of each track of Art Hirahara's Open Sky it feels like the slate gets wiped clean and the record begins anew. The disc is rife with turnabouts and the contrasts in character of the thirteen performances are often startling. In the first four cuts alone, an insistent post-bop line ("Groundswell") gives way to elegant, deep-seated swing ("Inimitably, Mr. B."), followed by the leader's deliciously slow, almost fragile solo piano ("Peony"), and a decidedly percussive conversation between four instruments ("Open Sky.").

The efficacy of this scene shifting can largely be attributed to a core trio of Hirahara, bassist Boris Kozlov and drummer Rudy Royston. Each of them is a mature artist with significant resources and fully invested in change. Hirahara thrives on the varied dispositions of his own compositions, as well as one each by the two sidemen. As an improvisor he's neither patterned nor predictable, yet there's a lucid core within all of his work, even the imaginative flights of "Groundswell" and "Together, Apart." Kozlov's firm, steadfast bass lines make an impact while taking up a minimal amount of space. Even on the freer tracks, such as "Open Sky" and "Together, Apart," he always finds ways to ground the music without sounding inflexible. One never knows what to expect from Royston. He's a master of executing overlapping weights and textures and knows exactly when to back off before wearing out his welcome. Gleefully whipping out elements from a huge bag of tricks, Royston is capable of patient, straightforward time ("Inimitably Mr. B.," "Nightfall"), issuing brief, pulsating upheavals that surround Hirahara ("Groundswell," "Together, Apart"), as well as numerous other bracing and subtle percussive states.

On a handful of tracks, the trio is joined by tenor and soprano saxophonist Nicole Glover and vibraphonist Behn Gillece. In keeping with the record's substantial breadth, Glover reveals different aspects of her prodigious talent. For example, her smooth, unblemished tone states the open-hearted melody of Hirahara's "Mia Bella" with a disarming sincerity. During a solo that follows, her sound turns harder and more aggressive while executing long, coiled phrases that are enhanced by the leader's feverish accompaniment.

In addition to the diverse identities that he assumes in conjunction with Kozlov and Royston, Hirahara's disparate solo piano gems are spread throughout the record: "Peony," the aforementioned ballad; "Cittadella," a dreamscape without any connecting points or guidelines; and a sprightly take on George Bassman's "I'm Getting Sentimental Over You" that sports a five-four time signature and occasional hints of stride piano.

It's easy to lose oneself in the variegated compositions and the vigorous musicianship of Hirahara and company. Open Sky is a terrific recording.

Comments