Sofia Goodman: Secrets of the Shore

Secrets of the Shore, Nashville-based drummer Sophia Goodman's second album, is thematic, and its essential element is water. Goodman wrote or co-wrote the ten numbers, each of which is designed to induce in the listener's mind some aspect of water, from placid to turbulent, gentle to intense.

As is true of all thematic enterprises, it rests with the listener to hear and appreciate what the composer has in mind. Goodman fares well in that respect, as her themes by and large summon images of water, even employing surflike effects on several numbers ("In Barbara's Mist," "Shadows in the Sand," "Sea Legs," "Alberto's Dreamland") and using less obvious but generally effective stratagems elsewhere. "Dreamland" includes a brief spoken verse, in Spanish, presumably (but not definitely) by percussionist Carlos Duran.

For those who would rather eschew the thematic aspects and focus on the music, Secrets is a rather mixed bag, with some numbers deft and agreeable, others rather less so, with moments of clarity and charm set against others that are by and large indifferent. That is, of course, one listener's opinion, one that may (and perhaps should) be challenged by others.

What is clear is that Goodman's busy drums are at the center of every tune, from the ethereal "Siren's Song" to the entrancing and intricate "Angel," escorting a topnotch ensemble that includes Duran, saxophonists Joel Frahm and Dan Hitchcock, trumpeter Matt White, trombonist Roy Agee, pianist Alex Murphy, guitarist Rheal Janelle and bassist Leland Nelson.

There are several efficient solos, by Frahm, Hitchcock, White, Agee and Murphy, but they are for the most part subordinate to Goodman's purpose, which is to paint a series of clear and engaging sound pictures of water or its import. They are heard to best effect on the rippling "Coast to Coast." Hitchcock (tenor) fashions a robust solo on "Sea Legs," as does Frahm on the assertive "Stowaways."

There's a lot to admire on Secrets, not least of which are Goodman's pursuance of her purpose and expertise at the drum kit. On the other hand, that rationale can also impede an outcome, hence the mixed bag noted earlier. On balance, an above-average session that should be of special interest to listeners who are able to "see" what a composer desired to impart by "picturing" the music in their mind's eye.

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