Some of the most creative and exciting sounds are coming from Central Asia. Just like Brazil’s bossa nova grooves created a tidal wave of influence back in the 50s and 60s, the intricate rhythms and complex harmonies from India and Pakistan are putting an indelible stamp on today’s jazz. Here are two salient examples…
Alto saxist Rudresh Mahanthappa forms a fiery trio with Pakistan-born, NY based guitarist Rez Abbasi and drummer-tablaist Dan Weiss. The eight tunes are an exotic mix of moods, sometimes 3-4 in a single tune. Abbasi’s guitar is fragrant and meditative on the Middle Eastern “Alap” while the fragrant tablas and saxophone harmonies drift like smoke from an incense candle. Traditional Indian pulses on a piece such as “Snap” mixes melancholic reed and strings, while Weiss’ fingers frenetically dance and guitar and alto sax speed and swirl like a Dehli taxi driver on “Agrima.” Mahanthappa gets bluesy as Abbasi trudges with desultory strums on “Showcase” and the strings get sitar-like as the mood turns into a frantic race on “Rasikapriya” as well as on the contemplative “Revati.” The melding of tones from Abbasi and Mhanthappa create a rich curry of flavor, sometimes sweet and sometimes causing your eyeslids to sweat from the potency.
Rez Abbasi’s group includes both Mahanthappa and Weiss, but is supplemented by continental fellow Vijay Iyer on piano as well as Johannhes Weidenmueller/b and Elizabeth Mikhael/cel. Weidenmueller’s bass make’s its presence known with a rich bowing with leads into Mahanhappa’s laconic alto before Weiss and Iyer drive the lyrical pulse forward on the title track, and his pizzicato’d line forms a deep rivulet for Abbasi’s guitar to create an intricate unison line with the alto saxist, veering into various sonic side streets on the multi-hued “Propensity.” Abbasi shoes his blues hues and Mahanthappa is acerbic on the funky “Dance Number.”
The leader gets the spotlight to display his metallic tone on “Thoughts” just before going metallic in front of Weiss’ propulsive drive, just in time for the gears to switch in time for Iyer’s cohesive, creative and cogent solo on “Thin-King.“ The opus of the album, an almost 12 minute “Turn of Events,” opens with a floating guitar and alto finally landing over the loose pulse of the rhythm team, with the melding of piano and cello yearning like a cry unto God, finally making a sharp turn back into the main street in time for a sweet and salty lassi of a climax.
If any incarnation of these bands comes nearby, hail the nearest taxi and head on out. WHEW!