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Michael Hutchins
Via Gelato Cafe
July 31st 2010
1853 Tower Drive
Glenview, Ill 60026
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Stacy McMichael
Julius Meinl
July 31st 2010
Addison / Southport
Chicago, Ill
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Marshall Vente - Marshall Arts
Trio:
Scott Mason Acoustic bass
Isidro Isi Perez Drums
Tropicale Trio:
Jim Batson Acoustic, electric bass
Luiz Ewerling Drums
Special Guests:
Glenn Reitsma Acoustic, electric guitars
Joe Sonnefeldt Steel pan, congas, udu, shaker
Chip Gdalman Alto flute
The new Chicago Sessions label series is off to a strong start, with well-recorded takes, top-flight musicians in creative combinations, and even good packaging. For Vol. 2 of this inaugural year subscription series, the label has chosen to feature Marshall Vente. It's an album of musical heft, taking us through tunes in a variety of styles representing Vente's compositional interests and output.
For this recording, he pares down from a full ensemble that you might be familiar with to feature a trio highlighting his own work as a pianist. Starting out with the lovely waltz, "A Bill Evans Tune for RA," one is immediately taken by his clean shimmering sound; something that always seems ideal. Solos grasp you, going beyond simplistic concepts to discover something more intriguing.
I'm particularly impressed by the tightness of the straight-ahead rhythm section. It has an awesomely full bass (Scott Mason), and thoughtful, tight drumming (Isidro "Isi" Perez), consistently together and dynamically propelling the music. The great interplay hits the groove and entirely maintains your attention. The drive on "Song For The Persmerga," for instance, doesn't let up one iota.
Latin tracks, so intrinsically a part of what Vente is about, find their place center-disc, where Chip Gdalman joins the trio for a pleasant romp through the laid back "Bossa '68." And Glenn Reitsma gets into the scene on guitar with his own solo of note.
He then sticks around for the rest of the Brazilian interlude of tunes. Other selections include "Samba Into the New Age," and "Teds," where the steel drums of Joe Sonnefelt re at home with the Tropicale-directed compositions. On these latter tracks Vente swaps out his rhythm section to include Jim Batson (on acoustic and electric bass) and Luiz Ewerling (drums) for an alternative offering with exciting work all around.
As Vente moves to the final three tracks (where he returns to a more straight-ahead form), one is drawn to the excellent arrangements. Whether formally written or improvised, they reveal an intense understanding of how to make everything work together. I especially enjoy "Endless Intensity" in this regard. A short piano intro states the theme with already nurtured depth, and is followed by a breath to take it in before launching into a section where both bass and alto flute double in unison to create a unique soundscape.
Later in the composition, another pause allows them a chance to step back from the pace they had established. Here Gdalman helps finish out the tune, first in solo, where he turns to another direction entirely, setting a different mood with his extraordinary embellishment, while the others sit silently, before he's joined at last by Vente, recapping the theme. Vente finishes with the same sensitivity with which he began.
"Pathos 2.75" provides some of his nicest work. Rich and substantive ideas flow forth in this contemplative piece.
After reviewing the list of discs already shipped or due for future release, and assuming that production values are on par with Marshall Arts, Chicago Sessions will be a great addition to the noted history of labels emanating from our fine city.
By: Tim Gault
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