Michael Pagán: Paganova

Pianist/composer Michael Pagán's Paganova is a testament to his prowess in the jazz domain. The release elegantly blends Pagán original compositions with three masterful arrangements of post-bop classics, which are both cohesive and exhilarating. In addition to Pagán, the other members of the quintet are multi-versatile saxophonists David Chael and Michael Herrera and the rhythm section of electric and upright bassist Louie Pagan, son of Michael, and the hard-hitting drummer Ray Demarchi.

Each of the album's compositions is a display of Pagán's ingenuity, offering a blend of intricate arrangements and spontaneous improvisation starting with "Burn It Forward." Whipped along by the burning pace set by the rhythm section, Herrera's alto and Chael's tenor develop the opening line with a furious unison horn section. Pagán's piano interjections are filled with skittering runs as the band works through Pagán's cunning chart. For a more contemplative composition, there is no need to look further than "Deep in My Soul," Herrera and Chael maintain the same instrumentation as they weave a rich tapestry of sound through the complex melody. Louie Pagán delivers a deep-tone acoustic bass solo that pumps a quiet energy into the number's interpretation. The follow-up track is "Guess Whose Blues," a minor blues in 3/4 time with the instrumental interchange, with Herrera now on tenor and Chael on alto doing his light and airy Paul Desmond impersonation. As they develop the number, Herrera and Chael engage in a series of nifty exchanges with the savvy drummer De Marchi.

The following three tracks are post-bop classics beginning with bassist Steve Swallow's "Eiderdown," the Canadian-born trumpeter Kenny Wheeler's "Where Do We Go From Here" and then pianist Clare Fischer's "Gaviota." Each offering shows Pagán's deep understanding of jazz traditions and his respectful approach to pushing the genre's boundaries. Swallow was one of the first musicians to switch from acoustic bass to bass guitar. He wrote "Eiderdown" in 1965, his first composition, a lively affair with three-part horn harmonies in two different sections of the number. Wheeler's composition is a sultry ballad with Herrera's alto and Chael's tenor crisscrossing seamlessly throughout the piece with a warm, bubbling approach to the theme. Finally, Fischer's "Gaviota" delivers a Latin tempo in bolero style featuring Chael's soprano sax as Pagán on electric piano, showing he is a deft and dulcet interpreter.

The closing track is "Napoli," and it is a boisterous finale to an innovative duo saxophone format combined with stellar performances from the entire ensemble for a celebration of collaborative creativity.

Comments