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Pianist Edward Simon's seventh CD as a leader is his best effort to date. On display are his gifts as an improviser, composer and arranger with two sympathetic partnersbassist John Patitucci and drummer Brian Blade. The entire CD has the feeling of a suite, rather than separate unrelated tracks that just happened to be recorded during the same session, even though the leader did not compose everything himself. The Venezuela-born pianist's light touch works in his favor as he restrains himself from excessive notes when just a few will suffice; likewise, his band mates are of the same mindset.
Simon performs Catalonian composer Frederic Mompou's haunting "Prelude No. 9 with minimal accompaniment, adding an improvised section and slightly modifying its time signature. His driving original "The Midst of Chaos is the best overall solo showcase for the musicians. The character of his hypnotic vamp in "Eastern is reminiscent of Keith Jarrett's concert improvisations of the mid '70s, with Blade's hand percussion adding a nice touch.
There are two versions of the pianist's brooding "Abiding Unicity. The initial rendition is more dramatic, enhanced by Patitucci's warm arco bass in its swirling introduction, with Simon's enchanting solo displaying subtlety, backed by Blade's stirring percussion. The reprise of the theme at the end of the CD is of a totally different character, with a more straight-ahead rhythm, retaining a bittersweet flavor while offering a degree of hope not heard on the initial take. Patitucci switches to electric bass and takes the lead for much of the ominous-sounding "Evolution, and also contributed the cheerfully post-bop "The Messenger. Piano trios rarely reach the heights of Unicity.
Track Listing: Invocation; The Messenger; Abiding Unicity; Gevriasolas; The Midst of Chaos; Prelude N.9; Pathless Path; Evolution; Eastern; Abiding Unicity (Reprise).
Personnel: Edward Simon: piano; John Patitucci: bass, electric bass; Brian Blade: drums.
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.