The Choir Invisible with Charlotte Greve, Vinnie Sperrazza and Chris Tordini: Town of Two Faces

Infused with an inventive and organic zest, Town of Two Faces swings into the spotlight under the deft ensemble of Charlotte Greve on alto saxophone or voice, Vinnie Sperrazza on drums, Chris Tordini on acoustic bass. It is graced by a cameo from Fay Victor, a voice which paints jazz in bold uncharted colors, with her knack for reimagining the vocal weave in the jazz tapestry with her deep dive into a memorably melodic blues-and gospel-shaded piece, entitled "In Heaven."

Rooted in the fertile creative bedrock of Brooklyn, this trio serve up their eagerly awaited second album, a sonic odyssey which continues to chart the trio's distinct musical dialect. This dialect, free from the confines of harmony instruments, thrives on dense, liberated exchanges, sparking a vibrant conversation among the players.

The production stitches together the trio's essence, blending compositions from each member to span a wide emotional and structural spectrum. The Choir Invisible offers a musical banquet, rich and layered, inviting the listener to savor each note.

Town of Two Faces entices with its title alone, promising an expedition across contrasting musical terrains. Will it present a clear dichotomy of light versus shadow, tranquility versus turmoil, or will it delve into the more subtle shades which lie within the known?

This album stands as a testament to jazz's enduring dynamism and adaptability, blending complexity with a welcoming openness. The collaboration among these musicians emphasizes jazz's core ethos of dialogue, where every note and rest contribute to a complex yet inviting musical conversation. This is vividly captured in the opening track "Membrane," in which Tordini's solo sets the stage for Greve's emotive melody and Sperazza's rich rhythmic textures, flavored with a dash of Latin flair. Meanwhile, "17 East" takes off with a bustling post-bop beat, enriched by Greve's introspective lines drawing the piece to a close.

The trio's foray into balladry on "Okay for Now" is cradled by Sperazza's tender brushes and Tordini's full-bodied notes. Thus, the artists implement a creative exploration of musical dualities, intertwining diverse soundscapes which mirror contrasting emotions and viewpoints, highlighting the ensemble's fluidity.