Jason Stein / Damon Smith / Adam Shead: Volumes & Surfaces

Jason Stein, a saxophonist with a penchant for pushing boundaries, brings his avant-garde sensibilities and razor-sharp technique to the fore in Volumes & Surfaces. Known for his dexterous command of the bass clarinet, Stein has made a name for himself in the jazz world with his innovative approach and fearless improvisation. His contributions to this album are no exception, as he seamlessly blends precision with spontaneity, creating a dynamic and engaging listening experience. Stein's work with the trio, alongside bassist Damon Smith and drummer Adam Shead, displays his ability to navigate complex musical landscapes while maintaining a sense of playfulness and curiosity.

From the opening track, "Heterodox Symmetry," the musicians cultivate an organic structure. Stein's clarinet dances alongside Smith's bowed bass, while Shead's drums punctuate the conversation as they also elevate the pitch and dig deep amid staggered flows, moving forward. The listener is immediately thrust into a world where precision and spontaneity coexist in perfect harmony. Stein's saxophone lines are as sharp and defined as the edges of a crystal, yet they dance with a fluidity that defies their angular nature. Smith's bass, grounding the ensemble, pulses with a steady heartbeat that is both comforting and compelling. Shead's drumming, a masterclass in controlled chaos, provides the necessary propulsion, pushing each piece forward with relentless energy.

"The Deaf Voice of the Light" is a piece that unfolds like a secret whispered in a dimly lit room. Stein's notes flutter, and Smith's bass resonates, creating a delicate tension. Yet the trio opens it up and heightens the intensity level. And "Blue Isn't For Sitting" is initiated with Smith's tender bowed bass notes accompanied by bells and Stein's breathy bass clarinet. As the piece progresses, energy builds, culminating in intimate group improvisation, spacey musings and bowed bass effects. Here, the band generates alternating flows between densely executed improv and haunting interludes.

While the album is deeply rooted in the jazz tradition, it is anything but predictable. The artists' willingness to experiment with form and structure is evident throughout. You may want to pin your ears back, for this music demands—and deserves—the listener's full attention.

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