Mark Masters Ensemble: Sui Generis

Sui Generis by the Mark Masters Ensemble featuring trumpeter Tim Hagans is an inventive addition to the world of contemporary jazz. Known for his deft compositions and dynamic arrangements, Mark Masters delivers a collection of nine original compositions, each of which embodies the spirit of spontaneity. Joining Masters in this session are a group of musicians known for their high bar of musicianship, including alto saxophonist Nicole McCabe, tenor and soprano saxophonist Jerry Pinter, trombonist Dave Woodley, French hornist John Dickson and a rhythm section composed of pianist Jeff Colella, bassist Chris Colangelo and drummer Kendall Kay.

The session opens with " Doyle Hud's Two Step," which is a medium swinger with Hagans revelling in the structure of the chart. Woodley uses his solo turn to show that each note matters as part of the flow. Taking full advantage of Hagans' tart, bold upper register, playing "The Stoic" is an up-tempo romp propelled by Kay's in-the-pocket drumming. The chart is filled with vibrant energy, with space carved out for a series of brisk fours from Kay.

"Deep Pools" is built on the rich harmonies and textures of Masters' chart and is a stellar frame for Hagans to develop his pensive perspectives on both open and muted horns. Pinter takes a broad-minded approach to his improvisational style. As the ensemble moves together with an organic flow, "Waxing and Waning" gives Hagans the freedom to swagger over the top with his firm, clear tone. McCabe comes in with a subtle and lyrical solo, adding variety and depth to the number. The unusual title "Meet Me At Sal & Angie's" is derived from the name of a Brooklyn luncheonette featured in the 1971 film The French Connection, directed by William Friedkin. Following a thoughtful opening solo from Colella, the band picks up the pace where brass, winds and rhythm interact fluidly. Hagans takes his cue, showing a sense of shared pursuit.

The album closes with "The Hammer," which is a tribute to former NFL great Fred Williamson, a lifelong hero to Masters. This boisterous arrangement is replete with recognizable musical traits associated with Masters. Tight orchestrations, precision writing that coexists with the freedom to have improvisational spots such as those taken by Colella and Hagans, and providing an orchestral framework that can thrive on unpredictability.

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