Phil Brown: Rule Of Three

Though he resides in Illinois, it is likely double bassist, composer and teacher Phil Brown's Texan roots that inspired this album with its Latino flavors. Both entertaining and highly academic in concept, the album is enriched by the presence of Fareed Haque, an excellent guitarist who is himself deeply rooted in academic rigor. He reminds us that this style of music has, for decades, been thoroughly modernized by towering figures like Juan Carmona. Expect no surprises here—only an impeccably-crafted album.

To appreciate the work, it helps to focus on its essence. What is the fundamental drive behind this series of compositions within the jazz tradition, which often thrives more on oral/aural transmission than written conventions? The artistic approach becomes understandable when one considers Brown's biography, an unblemished trajectory that has led him through various orchestras over the years. He has performed, for instance, with the Herbert Zipper Orchestra in North Shore Chicago schools, as well as with the Handel Society, the Northwest Indiana Symphony Orchestra and a touring Lithuanian orchestra from Canada. He was also a finalist for a double bass position with the Lyric Opera of Chicago.

At every level of composition and arrangement, there is a fusion of genres where jazz, classical music and Latin influences blend into a compelling cocktail—though without ever truly surprising us. This is a widely-recognized form of jazz, adhering meticulously to its established codes. And while these compositions are entirely new, Rule of Three ultimately leaves a lingering sense of déjà vu.

Yet if the album succeeds in evoking a sense of joy, it is thanks to the collective brilliance of its musicians, whose rhythmic mastery is undeniable. The track "Magnolia" stands as a prime example—an exquisitely poetic moment that highlights the full talent of pianist Tom Edgar and Brown. Undoubtedly, there is a remarkable craftsmanship at play here, one that speaks to an audience firmly rooted in the most traditional currents of jazz.

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