Steven Bernstein: ResoNation Trio/Ultra Resonance

Rightfully described as a thinking (wo)man's jazz musician, trumpeter-composer-bandleader Steven Bernstein makes deeply cerebral music no matter whether with his own ensembles such as Sexmob and Millennial Territory Orchestra or in heady collaborations with other artists such Jacob Fred Jazz Odyssey (see Race Riot Suite (Royal Potato Family, 2011)). 

In fact, the products of his imagination resound with such visceral force that those creations render an impact comparable to his membership in Levon Helm's Midnight Ramble Band (or MTO's tribute to Sly Stone). ResoNation Trio and Ultra Resonance, are similarly charged, the former a forward-thinking yet traditionalist-leaning project for which Bernstein recruited the estimable rhythm section of bassist Scott Colley and drummer Nasheet Waits, the latter is a reimagining of that threesome's music overseen by pedigreed engineer and producer Scotty Hard (a long-time collaborator of visionaries unto themselves, Medeski Martin & Wood).

The former is as skeletal as the latter is dense. Yet the two recordings, distinctly different in concept and execution, are nevertheless inextricably linked. Each, in its own way, is a thought-provoking piece, with the respective virtues redolent when played separately or together in sequence, either in the configuration of the single CD or the double vinyl package.

The abstract likes of Bernstein-Colley-Waits' "Turf" benefit as much from the space in the arrangement as the linear progression the three pursue in "Pettiford." Meanwhile, corresponding titles of the companion piece, such as "Rubidium," function similarly, gateways into more or less otherworldly realms (though perhaps not as mesmerizing as the source of that concept, dub reggae recordings by Burning Spear on Garvey's Ghost (Island Records, 1976)). 

It is not necessary to listen to Ultra Resonance on headphones to appreciate its aura. Still, that method can reveal more of the multiple layers in the recordings. And, in its own way, that method also proves to be comparatively applicable to the acoustic music: the patient and probing human three-way human interactions that comprise "Woodstock," for instance, radiate both the physical and mental effort involved in the musicianship.

Hard's deeply insistent reformulation of the music through the use of keyboards, various other instruments and percussion, in combination with Jeremy Gustin's varied rhythm devices, emits a presence as haunting as that in the spacious interplay of the ResoNation Trio. Selections from the latter like the one non-original, the blues of "Sitting On Top of the World," resound with comparable levels of mental acumen infused with technical expertise. 

A comparatively spooky atmosphere thus pervades most of this seventy-six minutes, even as it is presented in cuts of mostly 3 to 5 minute duration. With its infectious lively cheer, the penultimate track by the trumpeter, bassist and drummer, titled "South," may be the exception to the rule. And the product of Scotty Hard's efforts, such as "Vibranium," are like nothing so much as an individual's inner monologue, filtered through devices, as are so many of our contemporary dialogues.  On the other hand, the acoustic portion effectively constitutes a friendly but lively debate between equals.

Accordingly, the sounds from the three-man ensemble flicker in and out of the well-defined, but dark audio mix during "Argon." And, without ever going on too long to become monotonous, there are just enough similar turns of melody to render more pronounced the heavily rhythmic likes of "Titano." In the end, the overall pacing is that of a well-sequenced live set, without an overabundance of aural esoterica.

It is thus indicative of the seamless yet malleable nature of ResoNation Trio and Ultra Resonance that various elements from each can be interwoven with the other. Reprogramming the CD tracks or alternating the four sides of vinyl extends both the accessibility and the durability of Steven Bernstein and company's eccentric musical orthodoxy.