Pitch, Rhythm and Consciousness: Sextet

Pitch, Rhythm and Consciousness is a collective of musicians who stand among the most representative of the New York jazz scene in 2025. Initially formed as a quartet, the group was founded by Tony Jones and Charlie Burnham, two of the most captivating artists of the ensemble, who are later joined by Kenny Wollesen, Marika Hughes, Jessica Jones and Rashaan Carter.

Given the group's initial configuration, it is evident that their music and compositions are not meant for the uninitiated. The tone is set right from the start with the opening track, "I Shall You Want," which conveys a striking intellectual radicalism. The entire album evokes the sensation of a theatrical piece, one that leaves the listener with lingering questions. This profound artistic approach is as evident in the compositions as in the lyrics. The group's new bewitching album, Sextet, draws its inspiration from various spiritual traditions: Buddhism, Christianity, Judaism, Taoism, Hinduism and more.

Pitch and rhythm are the fundamental elements of music, but what about consciousness, the third component in the name of the improvisational ensemble? For the group's co-founders, tenor saxophonist Jones and violinist Burnham, consciousness is perhaps the most essential, albeit elusive, aspect in the creation of real-time harmonies.

"Tony and I strive to keep our spirituality alive," explains Burnham, whose expressive violin has graced the recordings of James Blood Ulmer, Cassandra Wilson, Steven Bernstein's Millennial Territory Orchestra, and Living Colour, among others. "What brought Charlie and me together is that we are both Buddhists, though from different traditions," adds Jones, a longtime collaborator and multi-instrumentalist who has worked with Don Cherry, Cecil Taylor, Muhal Richard Abrams and Joseph Jarman. "It is simply part of who we are. If it did not appear in our music, it would be a deliberate choice to exclude it." The selection of new participants aligns with an artistic vision that demands deep introspection; one capable of being transcribed into sound. At this level, silence is just as significant as the notes themselves.

The music lends itself not only to spiritual meditation but also to a more philosophical contemplation. "The six musicians involved are not only colleagues but also very close friends," Burnham emphasizes. "That changes everything in terms of musical approach and studio atmosphere. There is immense trust between us. I don't have to worry—I know that whatever I propose, they will respond in the most fitting way. This is the result of many years of shared experience, and it is palpable in the music."

The conception of this album closely mirrors the process of crafting a theatrical production, often drawing from sources beyond the usual artistic domain. With the support of a grant from New Music USA, Burnham studied various religious and spiritual texts to find lyrics suitable for the album, words that would resonate with both the singers and the audience. "I wanted lyrics that were singable but also ideas that were accessible to everyone. One does not need to be Buddhist or Christian to understand what is being conveyed; these are, above all, spiritual insights expressed in a universal language."

The album opens with "I Shall Not Want," a poignant interpretation of Psalm 23 from the King James Bible, carried by Burnham's mesmerizing voice. "The Beginning of the Universe" illustrates the genesis of existence as described in the Tao Te Ching, emerging from nothingness in a whirlwind of sound.

This creation stands apart from conventional paths, offering an unparalleled richness in both musical and intellectual dimensions. It is an album to be experienced as one would admire a painting by Roland Cat, with wonder and awe.

Comments