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Clarinetist Theo Jorgensmann’s discography, namely for the “hatOLOGY” record label, speaks intrinsic volumes. The title of this effort might intimate an obvious Ornette Coleman tribute, but the quartet merely skirts the fringes of Mr. Coleman’s pronounced musical ideologies. In fact, none of these pieces were written by Coleman, as the Hybrid Identity implications simply signify the guiding tone of the overall production. The band incorporates Coleman’s harmolodic concepts to a degree. However the musicians perpetuate a personalized game plan, awash with Jorgensmann and vibraphonist Christopher Dell’s complexly woven unison lines. The soloists employ crisscrossing themes atop the rhythm section’s swarming and sometimes, circular pulses. Where Jorgensmann’s radiant musings are augmented by his free-bop approach and soul-drenched sense of swing.
On the title track “Hybrid Identity,” the group renders a garrulous set of exchanges, marked by punctuating choruses and turbulent underpinnings. Here, they pursue a faint yet philanthropic kinship with Coleman’s blanketed concepts as they redirect those sensibilities into a launching pad for expansion. With “Veneta,” the band executes a free flowing and altogether airy sequence of grooves marked by ethereal undercurrents and dissimilar tonalities. Hence, the quartet instills additional hope for modern jazz via this superbly configured exposition. (Vigorously recommended)
I love jazz because it’s what sounds
I was first exposed to jazz in my
parents household and in school
I appreciate many styles of jazz
and shy away from really outside
stuff. I enjoy relating to the
One of the best shows I ever
attended was 1975 Chick Corea’s
Return To Forever tour at an
intimate venue in downtown
The first jazz record I bought was
Herbie Hancock’s Chameleon.
My advice to new listeners is try
several styles before you decide
what jazz is all about!
Listen to music daily and stay open