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The Vorcza Trio is a young group evolving at very high speed.
The Vorcza Trio’s appearance at City Hall Park during the 2003 Discover Jazz Festival found them extremely promising as they searched for a singular, collective voice. In contrast, this mid-winter show at the FlynnSpace displayed a young group evolving at very high speed.
The second set actually had much in common with their summer presentation. With Rob Morse playing six-string electric bass---and only looking uncomfortable at it on one tune—the group indulged in groove-oriented material such as “Circumnavigate” that couldn’t help but bring comparisons to Medeski Martin & Wood. Having proved throughout their first set that they’re individually and collectively proficient, Vorcza regressed somewhat here; they should reconsider adopting something more of the traditional jazz trio approach, perhaps with Ray Paczknowski playing more electric piano.
A long-standing piece of the keyboardist’s hearkened back to earlier in the evening by dint of the predominant use of acoustic piano as did the Sun Ra encore, distinctive for eth same reason. The precocious threesome’s first set was impressive to say the least. Featuring a commissioned piece of Morse’s titled “The Kirovites,” the group’s atmospheric use of space and dynamics favorably recalled the best of the European label ECM’s best music. During the entire course of this hour-plus, drummer Gabe Jarrett swung, acting as the lynchpin of the band between bassist Morse and Paczkowski, both of whom spent time on their acoustic instruments to great effect. All three gained confidence as they played, radiating an increasing authority and daring as the set progressed.
The first half of Vorcza’s january 23rd night at the FlynnSpace might well serve as a microcosm of their development as a band. Instead of trying to get people to dance, they’d be well served by pursuing a more cerebral approach because it’s in this style they are most productive, most memorable and seemingly most comfortable.
I love jazz because anything is possible; it has few rules and the best jazz breaks those ones. I prefer free improv because it doesn't really have any rules at all.
I was first exposed to jazz in my teens (in the late sixties).
The first jazz record I bought was Filles de Kilimanjaro by Miles Davis, shortly followed by Extrapolation by John McLaughlin.
My advice to new listeners is to listen as widely as possible and not to make snap judgments--stick with it.