Gustavo Cortiñas: The Crisis Knows No Borders

Drummer Gustavo Cortinas is one of Chicago's most imaginative and exciting composers. This is not solely due to his brilliant creativity but also because he explores socially aware and relevant themes. He has honed a unique style that is easily recognizable as his own. His sixth release as a leader, the superb The Crisis Knows No Border, is about the impact of human-made climate change.

Cortinas leads his quartet through the 10 provocative and richly-textured, interlinked originals that form this cohesive album. The fiery "Growth Imperative" starts with his thundering beats and guitarist Dave Miller's muscular refrains. Then violinist Mark Feldman and saxophonist Jon Irabagon play the main melody in unison. The four-way riotous conversation that follows is exhilarating as it flirts with dissonance. The poignant expressions of the overlapping improvisations reach a simmering climax before seamlessly returning to the head.

Meanwhile, "Oil and Water Don't Mix" is somber and contemplative. Feldman bows out languid lines that Irabagon's wistful tenor echoes. Miller lets loose a shimmering cascade of notes while Cortinas contributes a rhythmic framework with his rustling percussion. Lyrical and mournful, as the name suggests, the piece conjures images of aquatic waves darkened with petrol spills. The result is haunting and sad, but never despondent.

Cortinas draws from various influences when writing music. The title track has a melancholy folkish motif and a propulsive cadence. The contrast creates dramatic tension. Then the group goes into a collective extemporization that embraces a more rock-inflected sound. Elsewhere on "Man of Flesh of Bone," Irabagon starts off with a bluesy solo then, as the band joins, a cooler tone ensues with sashaying drum brushes, bendy guitar notes and a yearning saxophone and violin duet.

Furthermore, "Skepticism" has distinct Western classical influences with hints of atonality. A sparse interplay among the group members coalesces around Feldman's virtuoso deconstruction and reshaping of the main theme. This results in an ethereal mood. Midway, Irabagon blows soulful phrases, adding an incandescence to the tune that closes with a passionate repartee.

"Meditation on the End of Times," an unaccompanied drum performance, showcases Cortinas' prowess on the instrument and the nuanced approach to it. It is an apt conclusion to this stimulating recording, a work that imparts its compelling message with exquisite elegance balancing the aesthetic with sober clarity.

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